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Ekiiane, Yuchi Chief and Dapc-e Leader. 

i 
/ 



UNIVERSITY OF PENNSYLVANIA 

THE MUSEUM 

ANTHROPOLOGICAL PUBLICATiONS 

VOL. I NO. 2 



CEREMONIAL SONGS OF THE CREEK 
AND YUCHI INDIANS 

BY 

FRANK G. SPECK 



WITH MUSIC TRANSCRIBED BY 
JACOB D. SAPIR 



PHILADELPHIA 
PUBLISHED BY THE UNIVERSITY MUSEUM 

1911 



.(2<?S7 



CONTENTS 



PAGE 

INTRODUCTION 159 

CREEK DANCE SONGS 161 

1. Fish Dance. Phon. No. (1044) 164 

2. Leaf Dance. Phon. No. (1041) 165 

3. Alligator Dance. Phon. No. (1007) 166 

4. Rabbit Dance. Phon. No. (1309) 167 

5. Buffalo Dance. Phon. No. (1054) 168 

6. Duck Dance. Phon. No. (1032) 169 

7. Steal Each Other Dance. Phon. No. (1050) 170 

S. Chicken Dance. Phon. No. (1052) 171 

9. Gun Dance. Phon. No. (1000) 172 

10. Skunk Dance. Phon. No. (1006, 1020, 1030) 173 

11. Horse Dance. Phon. No. (1049) 175 

12. Mule Dance. Phon. No. (1051) 176 

13. Skeleton Dance. Phon. No. (1070, 1025) 177 

14. Screeh Owl Dance. Phon. No. (1043) 178 

15. Long-E.\red Owl Dance. Phon. No. (1071, 1065) 179 

16. Buzzard Dance. Phon. No. (1008, 1022) 180 

17. B.\LL Game Dance. Phon. No. (1015, 1031) 182 

18. Feather Dance (Taskigi Town). Phon. No. (1024, 1012, 

1029, 1033) 186 

19. Feather Dance (Tulsa Town). Phon. No. (1005, 1023).. 188 

20. Crazy Dance. Phon. No. (1069) 190 

21. Crazy Dance. Phon. No. (1028) 195 

22. Drunken Dance. Phon. No. (1010, 1017, 1027) 197 

YUCHI DANCE SONGS 201 

1. Big Turtle Dance. Phon. No. (1063) 201 

2. Garfish Dance. Phon. No. (1055) 203 

3. Drunken or Crazy Dance. Phon. No. (1059) 204 

4. Dance Song. Phon. No. (1061) 207 

5. Dance Song. Phon. No. (lOGO) 208 

6. Ball Game Dance. Phon. No. (1062) 209 

7. Horse Dance. Phon. No. (1064) 209 

(157) 



158 CONTENTS. 

PAGE 

CREEK MEDICINE SONGS AND FORMULAS 211 

1. Hog the Cause. Phon. No. (1047) 215 

2. Beaver the Cause. Phon. No. (1035) 216 

3. Snake the Cause. Phon. No. (1046) 217 

4. Bird the Cause. Phon. No. (1034) 219 

5. Headache Song. Phon. No. (1048) 220 

6. Sun the Cause. Phon. No. (104S) 221 

7. Deer the Cause. Phon. No. (1013) 221 

8. Deer the Cause. Phon. No. (1016) 222 

9. Deer the Cause. Phon. No. (1018) 223 

10. Yearling Deer the Cause. Phon. No. (1046) 224 

11. Bear the Cause. Phon. No. (1034) 225 

12. Spirit the Cause. Phon. No. (1036) 226 

13. Fish the Cause. Phon. No. (1053) 227 

14. Turtle Hunting Medicine. Phon. No. (1037) 228 

15. Snake Medicine Hunting. Phon. No. (1053) 229 

16. All the Snakes. Phon. No. (1068) 231 

17. In the Water, Wolf the Cause. Phon. No. (1042) 232 

18. Horse the Cause. Phon. No. (1035) 233 

19. Raccoon the Cause. Phon. No. (1036) 233 

20. Wildcat the Cause 234 

TABULATED SUMMARY , 236 

ORIGIN OF DISEASES AND MEDICINES 237 

SHAWNEE LOVE SONGS, Phon. No. (1058, 1041, 1026) 241 



INTRODUCTION 



The investigations described in the introduction to the first part of this 
volume inchided the work of collecting dance and medicine songs. The 
greater part of these came from the Creeks of Taskigi town, one of the tribal 
subdivisions of the Creek Nation. A smaller number of songs were obtained 
from the Yuchi. 

Frequent reference will be made in the following pages to the account 
of the Yuchi in Part I of this volume. Reference will also be made to an 
account of the Creeksby the author, published in the Memoirs of the American 
Anthropological Association, Vol. 2, No. 2. The List named paper will be 
designated M. A. A. A. 

The Creek songs were all sung hy Kahltcimala , "Raccoon Leader" (the late 
Laslie Cloud), a prominent leader and tihaman; the Yuchi songs by Fago^o'^wl' 
"Comes out of the thicket," Kuba "Creek Indian," Ekllane" It ha.s left me," 
and Jim Tiger. A few Shawnee love songs, obtained incidentally from Charley 
Wilson, who belongs to the small band of Sha^ATiees who consort with the 
Yuchi, have been included. The songs were all recorded on the phonograph, 
the syllables and texts being taken down independently with accompanying 
explanations at the time when they were simg. 

Mr. Jacob D. Sapir is responsible for the transcriptions. The phonograph 
records are the property of the American Museum of Natural History, New 
York. No attempt is made to discuss the internal cjualities or comparative 
characteristics of the music itself, our purpose being merely to assemble the 
material for someone else to study. The transcriber, however,- from consid- 
erable accjuaintance with them, feels that the Creek songs possess a strength and 
energy that is lacking in the Yuchi songs, while the latter are more harmonious 
to the European ear. The descriptions of many of the dances are based upon 
obseiwation, the informants' data supplymg the rest. These dance songs 
may be regarded as fairly complete for Taskigi town because Laslie Cloud was 
considered to he the best infoniied dance leader in the settlement. The same 

(159) 



160 INTRODUCTION. 

may be said for the medicine songs and formulas, so far as one shaman is con- 
cerned, as they are secret individual property. 

The sounds in Creek are represented by the following characters. Surd 
tc, like "ch" in English" church," and sonant d/, lingual alveolars, dj repre- 
sents a sound about midway in position between English dz and dj ; b is inde- 
terminate between surd p and sonant b; d is also of the same indefinite 
nature and produced as an alveolar dental ; / is a soft palatalized spirant surd ; 
g a palatal sonant; q a velar surd; g, the corresponding sonant; / a normal 
labial dental surd; c like English sh; I, m, n, s, k are also like the English. 
Semi- vowels are h, w, y. Prolonged consonants are written doubled; kk, tt. 
Vowels a, e, I, o, u are long, the unmarked short; au, oi diphthongs; a is open 
and obscure like English "u" in "but;" d like "a" in English "all;" a long 
and open like "a" in English "fare" without the "r" tinge; ° denotes nasali- 
zation; 'aspiration; ^ a glottal catch; 'accent, and •, or ! lengthening of 
the vowel. 



CREEK DANCE SONGS 



The Creeks always hold their dances on what they call djogo lukko "house 
big," which refers to the town square, where formerly they had a large dance 
house. In later years, however, the dance house was abandoned and the open 
square ground with its four lodges or arbors now remains. The square-ground 
is a plot of smoothly scraped ground one hundred and fifty feet or so on each 
side. On each margin a few feet in is an arbor consisting of a roof of branches 
supported upon upright crotches with logs on the ground for seats. In each 
of the Creek towns the size of the arbors and details of structure differ. The 
square-grouml is so situated that its sides face the points of the compass. This 
spot is the center of town life. The annual religious ceremonies, meetings and 
councils are held on it, each of the lodges being for people of different ranks 
and clans. A description and diagram of Taskigi town square, with which these 
ceremonies are concerned, has been given in M.A.A.A.,pp. 111-116. The dances 
invariably take place in the night-time, the dance ground being illuminated by 
a large fire which is kept burning near its center. Almost without exception 
the dancers circle about this fire contra-clockwise, the leader with his hand 
rattle at the head of a line of tlancers comprising first men, then women, and 
lastly children who are learning. A drum beaten by a man, or perhaps two, 
in one of the lodges, usually the west, accompanies many of the performances. 
The steps employed are rather simple; each foot is alternately stamped, the 
whole dance being little more than a stamping shuffling trot with the body 
somewhat bent forward and the arm nearest the fire raised level with the head. 
The dancers varv^ this common posture with attempts to imitate the animal or 
object named in the dance according to their fancy. With the women, how- 
ever, it is different. They reduce their movements to the minimmn, merely 
shuffling along with their amis hanging at the side, without even singing. A 
dance is begun by the leader who starts walking around the fire alone, vibrating 
his rattle. As soon as he is joined by one or two comrades he begins the 
introduction to his song by shouting yd hyo and other syllables (see Crazy 
Dance No. 20. p. 190), which are repeated by the others. As soon as a sufficient 
number have joined in the leader starts with the song proper. The leader, 
who is either self-appointed or invited to lead by a chief, may choose whatever 
song he wishes, though of coiu'se he generally is expected to give a different one 
each time. For the purpose of teaching someone else the leading part he often 
takes a young man with him who is to try and follow, learning his part by heart. 

(161) 



162 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

No mnemonic records or tallies seem to liave been known. The dances, as will 
be seen, embrace a nvnnl)er of independent songs between each of which the 
leader and chorus whoop and sometimes even break ranks to rest awhile. The 
repetitions indicated in the transcriptions are generally accidental, as the singer 
was limited often by the size of the phonogra]ih cylinder. The number of 
repetitions is optional with the leader. In the song texts the italicized parts are 
sung by the chorus, the leader's part being left inordinary type. It is, how- 
ever, often veiy difficult to divide Iietween where the leader stops and the 
chonis comes in, as the tendency is to merge one part into the other, the 
choras taking their syllables, as it were, out of the leader's mouth. The more 
animated the dance becomes the more merged and rapid are the parts. The 
effect of this is, on the whole, very pleasing, bonlering almost on hannony. 

Something requires to be said about the use of the nonsense syllables 
so characteristic of Creek songs as well as those of American tribes in general. 
The whole subject of the significance and inteipretation of the ideas associated 
with such syllables is one which has as yet hardly been touclied upon, but which 
manifestly desen^es attention. The idea seems to have been realized, but 
imperfectly understood by Miss Fletcher in her study of Pawnee songs.' 
Whether emotions, more or less definite, or ideas are associated with certain 
meaningless syllables in the mind of the singer or the perfonrer it is impossible 
to detemiine in the case of the Creeks. I was first led to su'sj^ect some func- 
tional significance in them from the attitude of my infonnant when asked 
whether the syllables, which I was taking down at dictation, had any meaning. 
In nearly every case the answer was in the negative until in giving me he Ic, 
which is extremely common as a chorus response, he announced that he le was 
like Hi 'foot,' stamping at the same time to indicate dancing. It would seem 
as though either through an original significance, or perhaps through mere 
secondary folk etymology, the dancers were shouting "foot! foot!" etc., while 
stam]iing and singing in response to their leader. Another instance of what 
may be taken as an example of some jjrocess of association, is to lie foimd in the 
Buzzard Dance (p. 180) where the syllables su li wa yu occur; suH meaning buz- 
zard. In some of the songs, as will be observed, word and idea fragments 
appear jumbled in with nonsense syllables. It is indeed difficult to imagine 
definitely whether they are the remains of a disintegrated ritual or whetlier 
they are mere secondary etymologies suggestetl by a chance similarity in soimd 
to actual words. The question naturally arises in this connection, whether 
these .syllables may not have traveled from some source in a region of com- 
plex ritual, where they might have either been actually mutilated iliscourse, 
or tlireftly associated with special religious feelinos. The problem may have to 

'"The Hako Ceremony." Twenty-second Report Bureau of .\meric.Tn Ethnology 
(1903). 



r. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 163 

be approached from the same point of view as that relating to the distriljution 
of the conventional geometrical decorative designs, as outlined by Dr. Boas. 
It is possible that many of the song syllables may have had a historical, back- 
ground like the elements of decorative art which have become diffused from the 
Southwest over a large portion of North America.' Much moi'e material, 
however, is required from different tribes before a comparative study can 
lead to satisfactory results. The similarities in performance details tietween 
some of the Creek dances and those of the Plains tribes is also a matter of 
some significance. 

The Creeks attribute the origin of their dances and ceremonies to their 
culture hero Hwdkulamlssi, Master of Breath, who conditioned prospei'ity u]5on 
their continuance. Most of the dances are propitiatory, influencing the spirits 
of various animals and supernatural agencies which are capable of inflicting 
trouble. .Some, however, are totemic. In these the members of the i;)articidar 
clan are supposed to be the chief participants, imitating by their behavior anrl 
gestures the clan animal. It is, nevertheless, considered an honor to the totem 
for outsiders to join in, antl this is carried on to such a degree that the dances 
have lost all vestiges of esoterism if they ever possessed any. 

Accompaniments to the dancing are furnished by two different instruments 
which are shared alike by both Creeks and Yuchi as well as by other southeast- 
ern tribes such as the Cherokee and Chickasaw. One is a large drum (Creek 
tamamdpkn, Yuchi dldane) made either of a pot containing water or a hollow 
tree section or bucket covered on one end with a piece of stretched hide. A 
smaller dnmi, sapA'lka, usually made of a small keg, is also used by the 
Creeks.- The hand rattle, needed in nearly every dance, (Creek sailga; 
Yuchi td" bane) consists of a gourd, or more commonly nowadays a cocoanut 
shell, containing small white pebbles with a stick through it for a handle (Fig. 
2). The common accompaniment to most of the dances with both rattle and 
drum is the double beat, i. e. two to the quarter. Another sort of rattle known 
among the southeastern tribes is one used only by women. This consists of 
from six to ten dried terrapin shells, with holes bored in them and pebbles 
inside, attached to a sheet of hide (Fig. 1, Yuchi tsontd'; Creek ludjasauga, 
"turtle rattle"). The women wear these, one tied to each leg on the outside 
below the knee. By a peculiar motion of the leg they produce a volume of 
sound from these rattles. Only one or two women wear them in a dance, their 
place being near the leader. A five-holed flageolet (Creek p"pa, Yuchi iokx"') 
is also found among these tribes, but it is for playing love ditties or for amuse- 
ment, having nothing to do with the dances. Samples of flageolet music have 

'Practically the same syllables are, for instance, found in Penobscot, Malisit, and 
Micmac songs as in Creek and Yuchi, 

'A small drum of this sort was used by Laslie Cloud while singing into the phonograph. 
Unfortunately the dnnnniing did not reproduce. In the places where it could be heard the 
transcriber has noted it. 



164 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



already been given.' The Creeks and Yuchi are extremely fond of music, fond 
of their dances, and take pride in executing them well, although the occasions 
for dancing were, when I last saw them, becoming fewer. 

It should be noted, finally, that my remarks apply only to the Creeks of 
the Taskigi band, for I have as yet no means of knowing in how far the other 
settlements differ from them in details. Some few characteristics, as well as his- 
torical traditions, point to earlier affinities other than Muskogian for the Taskigi.^ 





Fig. 1. -Shell Leg Rattles. 



Fig. 2.— Hand Rattle. 



1. ialobA'nga. Fish Dance. 

The fish, lalo, for his contribution of flesh to sustain life, is honored by 
a dance in which the usual movements are accompanied by drum and rattle. 
The leader's part could not be separated from that of the chorus in recording 
this song. 

(A) (B) M.M. J^= 192. 




' See p. 63. 

The songs as taken from the records are all for male voices; when played on the piano 
an octave lower should be used. J. D. S. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



165 



(C) M. M. ^'^=120. 



-i«e--»- 



--,_ 






Repeal twice. 



(D) M,M. J = 160. 



Repeat eight times. 



w 



-At- 



It=t 



^tE^^^^^^g|g|g| 






Repeat Jive times. 



(F) 






Repeal Jive times. 



Repeat eight times. 
Tlie burden is: 

(A) Introduction: ye^'hye' (long cry repeated). 

(B) ho yale (ye-'hye' in last bar). 

(C) a hya ho^o^o^ho, a ye ''he'' 

(D) yaliha, hiye^ ehe, hohiye^ehe, (ye'hye' in last bar). 

(E) repeat (C). 

(F) (do.) 

2. IdiwissibA'nga. Leaf Dance. 

Leaves, idiwissi 'tree hair, ' for their grateful shade and other benefits are 
placated by a dance which inmost respects is quite like the others. The leader 
sings the following song to the accompaniiuent of the hand rattle. The 
participants wave their amis and hands extended at their sides imitating 
leaves blown bv the wind. 



H. M. 













Repeat four limes. Ciy. 

The syllables are: 

ga' hyo ne' he or 

he ga^hyo ne' he ya. 
The cry ho dji ge hya ends each fourth repetition. 



166 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1. 

3. HalpA'dabAnga. Alligator Dance. 

The name of InadabAnga, Lizard Dance, was also given to this song. The 
alligator, halpA'da, is one of the totemic animals. The perfomiers assmned a 
stooping posture and wobbled, grunting at intervals. 



A) M. M. J _ = 80. . 



^Iteg 



:^4==:z5=Z^ 






Energeiico. 



(B) M. M. 1= 150. 



^ Repeat twice. Ye, ye, ye, ye 



Repeal six times. 
~~-< — pi 1 1 s-i — 



it=ti 



1 



-A 



^P 



-p — • — 0-»- 



-I 1 1 1 iT-l 






■• — #- 



:t=t; 






^8*t"i 



M.M. J . =80. 






ta 






fe ggg!fjgiEggi|ggig 



(C) iri'W. M. M. 1=88. 
u -^ ? 

-^t— 0-0-0-0^0-0-0-0-0 — 



--i,-'^ 



Repeat three times. Ye, ye, ye, ye. 



-fftt-S— ^t— !— I— I— I— ^1- 



^» — Sf^0-0-0-0-0 -0-0-0-' — M^0-0-0-0-0-0-0-0^- 
:|=j;;rd: pz^^c=t:::|=^|3!i r:7:di t=t=lr: ^^l=:t=l; r^- 






:^?fcp^g 



-I — ' — I — i I I — I — H 



(D) M. M. J . = 80. 
-flHfi:-'-! — ^-F^*« — 



Repeat twice. 






gm^Ei|^-3^E^=t^ 



-»^Y 0—0 — * 



Repeat four times. 






-•— ^— *- 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 167 

s ^ ^^ 



-<^—^—>^- 




Hepent four times. Ye, ye, ye, ye. 



The syllable burdens are quite variable, each verse ending with yells, ye 
ye ye, etc. 

P^ (A) ya li he ho ya^ li he ija. (Tlie last syllable, ijn, i.s often grcatl.v 

lengthened.) 

(B) ya' li he, ho ya l! he. 

(C) hallna we he, yo'ha. 

(D) same as (A). 

(E) he go wl' ya, he go wi ya hd (with variations in the ending). 



4. TcofibA'nga. 



Rabbit Dance. 



Tlie following is a totemic honorific dance in which the participants hop 
like the rabbit, tcofi, to the accompaniment of the hanil rattle ami dnun. 
In other respects the action is like that of the preceding dances. The song 
is full of cries and shouts. 

(A) _ 



b w 4 _ 



H"-»- 



zfzMz 



•-•-«- 



Yeil (B)jf p. 



^n 



> ^- > p- =^ p- 

-•-•-•- -•- -0- -0- -0- -0- -0- -0- -0- -0- 



t=t 



?»= 



zitisziz 



itrzt 



It— 



--m-- 



Repeat six times. 
- P- > P- 

-0-0- -0- -•-•-•- -I 

-I 1 1 pH 



Yell. 



(O) 



H^ 



-• r 



^ 



f^^^ 






Repeat five times* 



(D) 



.^f:-^ 






168 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



32 tBBr_,^^l=J. 




Repeal tvire 

The burden is: 

(A) (whoops) yo ho li na'. 

(B) yo^o^o^ hu' (shouts) - 

(C) we he ha yo na. 

(D) repeat (A). 

(E) repeat (B). 



Repeat from beginning. 



5. YanasobA'nga. Buffalo Dance. 

Tlie buffalo, yanasa, which contributed much to the subsistence of these 
Indians was honored by the following dance in which the hand rattle and drum 
furnished the accompaniment. This was a highly animated perfonnance with 
much heavy stamping, grunting and buffalo-like pantomine. Formerly each 
dancer wore the skin from the head and sometimes the back of the buffalo, 
with the horns attached, over his own head, the whole affair resembling the 
buffalo dance of the prairie tribes. In his hands each man clenched a stick. 



(A) Exclamations. 




mm=B^^^ 



-^-■^- 



m 



-0—f- 



— ^-^- 




(B) M. M. J = 160. 

I 9-»rMuT-»-»-»-m-. r*-'-S-. 



(C) 



• •-a-# • s- -«-»•• — ^ 



us- 



i=t 










r r ^ 



(T>) M. M. J = 138. „ 



t=t 



.»_,- 



SiSls^ 



(E) 



h 



r> 






Repeat jour times. 






1 







F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



169 



(f; 



M. M. 



120. 



/\ ^ ^ ^ ^ "^ ~W ^ ^ "A A 

I Q— F — I — •-•-•-•-•—- — ,— • — • — I •— • — • — • — • , •— •-• , 



' ^ Repeat Ji IV tinier. 



(G) 



h 



S=^^= 






rt-J^-^ 



z^ns: 






(H) M. M. J= 116. 




» — 0- 



> 

-0 — 0- 



-jg-! 



iB^^^- 






Repeal four times. 



The inti'oduction (A) is ?/o' ?/o oi /io'. 

(B) h^ yo 16 na he Ic. 

(C) repeat (A). 

(D) ha wa ya M le and he yo ho e ya. 

(E) repeat (A). 

(F) hya wa he le and hyo le na hyo le na hi'. 

(G) repeat (A). 
(H) he na yo ho. 

The song ends with a cry (A) supposed to imitate the buffalo. 

6. FutcobA'nga. Duck Dance. 

To recompense the duck, fiitco, for his contribution toward the support 
of life and to keep him well disposed toward people, the following dance is 
perfonned. The participants hold hands, winding and turning behind the 
leader, who carries the hand rattle. The drum is also beaten for this dance. 



(A) M. M. J = 104. 



(B) M. M. J =116. 






frf^tSf: 



2i 



m:^^ 



Repeat twice. 




It*: 



:n= 



*—»-*- ! 



•^3f=T: 



33: 



■t—^-a- 



:«_«_^_»_«- 



-»-y— '- 



170 



ANTHKOPOLOOICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 




Repeal Jour limes. 
The syllables are: 

(A) he' ha ya ll no'. 

(B) he we we he ya he ya and 
a hi ya wa he ya 

The last three bars of (B) have yakkoi he, a high, loud cry, repeated. 
A cry imitating the duck's cjiiacking, kiik, kak, kak, etc., very rapidly, is given 
at the end and the whole is rejjeated as often as the leader wishes to continue 
the dance. 



7. DiholkobA'nga. Steal-each-other Daxce. 

[Idiholkobi 'each other (rccipi'ocal) steal'. The form DiholhopkobA'nga, 
also occurs.] 

In this dance men and women ranged themselves opposite one another on 
the dance ground, the men side by side facing the women. As soon as the 
dance began each man would tiy to seize and capture a woman on the other 
side. Just how this was done I am unable to say as I did not witness it, but 
I think my informant stated that an old woman with a stick or switch protected 
the women as well as she could, keeping between the two files on the lookout 
for a chance to drive some man back to his place. The whole perfonnance 
seems to have been a pleasure dance, followed oftentimes by licentiousness. 
This dance is looked upon as a survival of some old waj' of obtaining women. 
I did not hear of it among the Yuchi. 

M. M. ^ = 183. 




Repeal twelve limes. 



The syllables and words are as follows. The first two bars have: 

hd no sd, we he'le. 
The last three have: 

tiho/kobi hd ya IV. 
each other steal. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



171 



In repeating tlie song the order of the words in the last three bars is often 
changed, thechonis singing tilioikobi and the leader ha ya ll. A whoop ends 
the dance. 

8. TolosobA'nga. Chicken Dance. 

The chicken, tolosi, is thanked for his flesh by a dance in which men and 
women, two abreast holding hands, circle around the dance ground behind the 
leader. The men are allowed to make free witli the persons of their partners in 
this dance because, it is said, they are imitating cocks. The song requires both 
hand rattle and drum. 



(A) M. M. ' = 112. 



-rm-P^ 



(B) M. M. J 
-•- • -•■ 



104. 



W- 



-M 



— ^a — ~i— 

Repeat three times. 



=t: 






i^^ 



Whoop. 




(C) M. M. ^ = 184. 



■•-•-•-•-•- 



^: 



c-B:r2=:jf 



m^ 



Repeat three times. Whuop. 



\^i 



.?1^-. 



I 



h^Z=^^=^ 



^^^^^mw. 



-»— q- 



Repeat Jour times. 



a 



(D) M. M. J 




Whoop. 






h-^-H — ^ — P — • •— pf-r-^' — *— •- 

.lL.±^y/ — B — 1- — 1 h^_LV_» — ^__l — 



'M-0- 



tt 



EIK 



Mepeat three limes. 



#-#-T 



mm 



Repeat twice. 



The syllables are: 

(A) ya ho li ha, ya go wi hi. 

(B) he go wi, ya ho^ 5" we na wi hi' ya. 

(C) ya le ho ya, ha na wl ye. 

(D) h4 ya he no he. 



172 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



9. TabotskobAnga. Gun Dance. 

A rather s]Dectacular perfonnance, which might be temied a sort of war 
dance, is one in which men only take part, each carrying a loaded rifle, revolver 
or gun. The dancers move in a circle as usual in single file behind the leader, 
stamping and responding vigorously in the chorus. Then at the end of each 
song they whoop and shoot their firearms, stoj^ping long enough between songs 
to prepare for the next round. Drumming also goes with this dance. The 
resemblance between it and the war dance of the plains tribes is again notice- 
able. Some magic idea of strengthening or invoking the animus of tlie firearms 
is apparent here. 



(A) M. M. J 




^-^r- 



Discharge guna. 



-r-«- 



X- 



t^EEPt 



:•—#-•-»-#-•- Z-—^—^^-m.^M-^-^. 



i 



;i] 



Repeat nine times. 



(B) M. M. J = 144. 






-* • , p .!. 



-I — r 



#-•- 



■[— t— }— f— ^—a*-*- 



it=t 



Discharge guns. 



(C) M. M. J = 168. 







-I •-•---•-•- 



-•-•— 1- 



Repeat four limes. 



I 



Repeal Jive limes. 



(D( M.M. J = 190. 




-i-0-»-0-\-0 0-1 — I — i-^f-'-0-0—^l 
— I l-i — I — I — I — I — I — I — I — I — -I 

.0 L| I I I 1 I i — I — — 1 ■ 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 173 

(E) M. M. J = 100. 



See; 






• ■ -( — i — ^1 1 — t— 



3=e 



The burden is: 

(A) hi'll nayona, hi' li. 

(B) hi' lino. 

[Repeat (A) and (B)]. 

(C) hai go do, we lii ya, he yd (and; 
hai go we di di, we di di', hi yd. 

(D) he le ma ya, yd ll ha, h6^ e yo hi ya. 

(E) waf ge to' wa^a ye', he ya. 



Skunk Dance. 



ffl 



10. KiinobAnga. 

The following is an honorific totemic dance in honor of the skunlv, kiino. 
No particulars, however, in which it differetl from the ordinaiy round dances, 
were learned. 



(A) Allegro. M. M. J . = 100. 
.,. .,. -«. J. .0. 



^m. 



t — t^- 



1 — t^— t- 



-^__ 



-^—0- 



-H 1 \- 



iti: 



H N- 



-* — *- 



i- • •- 



I 



a 



TTT 1 1 ' w s" — 



(B) Prfs(o. M. M. J = 184. 



=P=t=e 



Repeat five times. 







5^= 



:^-'-*-'^ 



-•-,- 



-•—I — p— *—•—•- 



, — r 



■0~g—s^ 



(C) ^. .*. :•; J. .,. 



Repeat five times. 



W hoop. 






(D) AI. M. J , = 69. 

■ HO ?^~ g :■ i!^~f f \ Xr 



Repeat three times. 

^B L r:_* — • — Ft- — tag— •— f#-=~#-^ 



-t.-c^r- 






Repeat len times. 



174 ANTHROPOLOGICAL PUB. UXIV. OF PA. MUSEUM, VOL. I, 

(E; M. M. __, = 104. 






^-0^m ». 



(F) 
Reoeat six tltnes. 1^^ 



f^ 

^ 



---F-h- 1— h-*-" — 1— h 



^. 



(G) M. M. J = 112. 






-0-0-0-0-^0 -0 J-\- ^0-0-0-0— 1- 0—0-0-0 -^ 

Repeat eight times. 






gg=^gg^g-= g:p =gEf^^ 



:3^i 



-•-0-0-W- 



irii 



oop. 



P5^ • ■ • F» — *-- — 0-0-1-0 •-= -J — i^-Fn 1 1 1 ^ -I — ^ 

^^* *^ Repeat four times. 

(H) M. M. J = 1(50. 



I — TT 1 ^'n 






•^' 



-f—f - ^w^f ~f ~^~f-^f ~F* - 



=«=iq 



M. M. J = 124. 






-S—S—r0~0-d-^—^- 



i 



-- j=^ — 



=it^ 






EtEE^PS^^ 



S=?: 



R^^oop. 



-r-^—f- 



_«_^_ 



^ 1 — « i-^f 



ItZ* 



H^^il 



{1) M.H. J^ = 181. 



Repeat fmir times. 



g— • — \—i — ! — i^ji ' ^^ , — 



-•---•-• 



E|Eg=f?.^tzf± 



JJrum. 



Sii^i^ 



:trr-pi=^=2 



-/- 



/- 



»— 1^» — • — • — a — A 

— I — I — -< — I — ^ — y — I 






— V *— 

Repeat four times, 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



175 



The burden is: 

(A) ho j'a na do ho yd le. 

(B) hyo he le he ga no yd le. 

(C) hyo we le he d6 ya^ a le. 

(D) he le le de za di and 
hi' we ga go zd di. 

(E) go no he go no ho yd le. 

(F) do ga le ho za ha le he (or ho za W e he). 

(G) ha no yd ha le. 

(H) he go 7iu u'l ya and 

ha no ya le na. 
(I) na we he yo ge na ho we ya and 

ho we na le he. 



11. TcilakkobA'nga. 



Horse Dance. 



The horse, tcilakko, is honored for his usefulness by a dance in which the 
men trot behind their leader, who shakes the hand rattle. At the end they 
whinny like stallions. There appears considerable difference between the Creek 
and Yuchi horse dance songs (see p. 209). 



(A) M. M. ! = 138, 
-» -. - 




M. M. J = 142. 

-T — , 



i=^=^SE^l£E^£ 



-* »- 



=t 



M'hoop. 

1^ 



Repeal six times. 



(B) M. M. j = 168. 




(C) M. M. J =132, 







Repeat four times. 



iP^ 



Repeat siz times. 



176 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



The burden varies somewhat in (A). 

(A) ya ho ga ni yd, | 
yohoyaliy^, V djiin&ha. 
ya h6 we ya li ye, ) 

(B) he ya ya hn. 

(C) he le na ha, 
go he le na ha. 

Whinnying frequently interrupts the verse. 



12. Bal'kobAnga. 



Mule Dance. 



A dance in honor of the mule, tcilakkobai'ka 'barking horse,' is similar to 
the horse dance, the dancers going through practically the same motions imitat- 
ing mules by cries and stamping. At the end of the dance the leader brays like 
a mule, after which, I was told, considerable licentiousness is tolerated until 
the next repetition. The mule, because of his unearthly braying and mi.xed 
ancestry, is looked upon as mysterious. 



(A) M. M. J . = 174. 



-^—0—0-^-^- 



■Pi- 



-^-ft-0- 



I.-. 



:t=^t=t 



(B) M. M. 



^88. 



:]i 






Repeal five times. 



Whoop, 



±=P= 



:P=f= 



ml 



r^i: 






Repeat twelve times. 

The syllables are: 

(A) yd, si wa no da he. 

(B) hy6 wa ha, yd iva hd and 
hyii wa ha, yu tya hd. 

The syllable groups of (B) often alternate with interjected expressions 
such as yandlkaba hadjigo modja, 'here in the middle [of his rear, he isl 
tailless now,' or others of a jocular nature improvised by the leader. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



177 



13. IstifA'nibA'nsa.' 



Skeleton Dance. 



The ghosts of the dead are believed to be quieted by this dance in honor 
of the remains of deceased ancestors. The perfonners assume rather stiff 
postures and make stiff movements, circHng in the usual way about the fire. 
This is a Creek dance, one that I diil not hear of among the Yuchi. 



m 



(A) M. M. J = f 



P 



lEE^ 



-v^- 



:^=t=s: 



-*— «— •— SI— •- 



t*I 



-*— «— !1- 









M — •_«_«_!)_^_n- 



ttl 






-! — ! 1^ \ 1 



i 



_»_«_^_»_q_ 



-fl—^—^—r^—0- 



Itl^t 



^ 



ii^ 



"«ii=^Ej« — »-• 



-(• ^— »— ^-!^*-=l- 



-«^=1-^-=l- 



# — •— •— i«-q-^-q: 



^ii 



(B) M. M. J = 108. 



-S-- 



iP^g^EHg^^ ^Sg 



-•— *. 



S=^^^=^' 



TFAoop. 






Repeat three times. 



(C) M. M. J = 190. 



'M 



LfcBEJE 



-* — « — f»- 



:t=t:=t=t 



J^-^ 



-r — ^- 



it=t::=t 



r=:tz=tz=:=EdBtil;;=t==l= 



ite^^^e^ 



.«stt 



_*— •- 



:brT 



r-f—^- 



n^=F^ 






#— ^-^— •=*—*- 



Repeat nine times. 



( D ) M. M. J = 120. 




Repeat four times. 



(E) 



• -— ^ — •- 



±i=d=z± 



P— =1- 



IS 



•-^— ^ — •- 



11 



i 



The whole repeat five times. 



'Literally, 'human bone dance.' 



178 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



The burden is: 

(A) he yo he he. (An introduction sung softly.) 

(B) ho li wa, yd na he or 
hd yo li wa, yd^ na he. 

(C) yananihe, henayowa. 
ha ya ll, go m ha nl. 
henadowaye, yowihane, hdydle. 
si ni da si ha li, ha ya yo iva' le. 

This song (C) is repeated nine times with many changes in the syllables 
and their repetitions. 

(D) h^yaya'wa hi ye. 

(E) ho' djlle (four times, sung b}' leader and dancers in unison). 



14. StikinobAiiga. Screech Owl Dance. 

The screech owl, stikfni, is an incarnation of some hmnan spirit. The 
Indians think it is capable sometimes of causing death. Its cries at least 
announce the death of somebody. The following propitiatory dance is 
perfonned to ward off the evil omen. There are no special features to it so 
far as I know. The hand rattle is shaken by the leader. 
(A) M. M. J = 112. 

r, 11 -0 0-0-0-0- -0- -0-0-0-0-0- -0- . - 

^ ■ 1 1 ^^ — — ^v 

P", -0-. -0- 

■ii-,.0 J^_| — R yliTr0-0 -•— •"=Fi:i=:SR=l=:1^?|=:p:=f^f:==l 
^t^ fz0^zr=M z0:l^,^J^^zt^t=tX'p ^ 



Yell. 



(B) M. M. J 
•. .0. -P. .•_ .fL M-0. 

-± — ! • — 0-0-^ ' 







Repeat /our times. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



179 



Si 



(U) M. M. J— 176. 



:fei.^=zi^ 



E 



Whoop. 




^"^li_^ 



-• — #- 
z\z=tz 



:t 



i 



Bfpeat eight Ihnes. ^''^"op. 

The syllables are: 

(A) hayowana ho li yd he. (Shouts and yells at the end.) 

(B) yo wa^ li he (and) 

ha^ yo wa^ Zi /ie. (Shouts and yells at the end.) 

(C) hd j'o ni^ i hd nl (and) (Whoop at the end.) 
ha yo wa no nl^ i hd m. 

(D) hega wa ya /(e /e (and) (Whoop at the end.) 
ka yo wa ya hele. 

15. O'boljAnga. Long-eared Owl Dance. 

The large long-eared owl, obo, is another creature thought necessary to 
jjlacate by an eniulatory dance. The hand rattle furnishes the accompaniment. 
Its features are of the regular order. 

(A) M. M. 1=188. 






Repeal fire times. 




-^ — I- 



(B) M. M. J — 188. 



j^ ==e Bg=sgsEi 



The whole repeat five times Whoop. 
0- • ' ' -0- 



Bepeal nine times. 






(C) M. M. 1 = 112. 
, / 3 - 



^^ 



•-0-f- 



w- ^ a ^ a 



Whoop. 




*— f-TFF=i--*-^-f— P-f-l 



Repeat five times. 



\80 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1. 







)c=r:r=»jc«irEZf::=i-z3:i| 



Repeat fire times. 




*- -^ 



Repeat five limes. 



The syllables are: 

(A) ho hi ye ydhijawe (or) yd hya^ un' hi. (The cry ho hi ye ends 
this and the following verse.) 

(B) yd hya we yoga Una. 

(C) yo we he he he do no! ahe. (The cry hop he ends this verse.) 

(D) ha ni a ho^ o ge he' ma no. 

(E) ya li ha hi ha yo ga ni. 
we he ya' " 

ho we ya' " 

hoi ya we " 

The ciy hop he, imitating the owl, again ends the song. 



16. SulibA'nga. 



Buzzard Dance. 



The turkey buzzard, sull, is a totemic creature. People of the buzzard 
clan, and others who desire, perfonn an imitative dance, to the accompaniment 
of dnuu and rattle, in which they circle about behind their leader waving their 
arms like a flapping buzzard. At the end of each song they bend down, spit, 
and hiss like a buzzard disgorging food. The song accelerates toward the end 
(at D), the motion of the dancers' anns keeping time with it. A rather unusual 
feature of the song is the invocatory mention of the buzzard's name toward the 
end. 




F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



ISl 



(B) M. M. I = 104. 



^^ms^^^^^m 



Repeal five times. 






/. 



#;^£EEgg^^_^^^^igspp^ 



(C) M. M. J =104. 



,'^ Fe/Z. ^v.; ivi.ivi. j=iu4. ^ 



Repeal four limes. 






-*-»- 



-I, — 



(D) M. M. J = 168. 



?^Ei= 



„ ' — a w w 1 



tl2= 



Repeat twice. 



■^ 1 



P 



-=^-»— 5?- 



-•-'^•-=1- 



-^— •— =1- 






u^_^.: 



P 



(E) M. M. J = 184. 



-t/ f — V- 



-=5-»-^»-^)-»-=^ 



H 1 1- 

-V — y — V — ?■- 



-*— ^ 



i=: 



rep^ 



■ — ^- 



H ^— ^5— • — #- 



-»—*- 



-h-— I — I — =!— • 



/ 



I r 



h — ^•— *- 



;t=-_± 




H =1— • •- 



-I T 



^= 



"A-i — I — 1 _ ■ . 






I 1-- 



Repeat five times. 



ya ho.) 



The burdens are: 

(A) ya go H ha, ya go w'l In. (At the end of this verse comes a cry 



(B) da' wa ya hi li (twice), 
(or) he da wa ya^ a hi li. 

(C) h& ni wa ya' he' ha,' 
(or) ha ni wa ya' hi. 



182 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



(D) siill wa ya' siill wa ya' he. 

buzzard buzzard 

(E) he j-a no ha ya and 
he ya he yd hi. 

The last syllables of this verse iliminish in sound until scarcely to be 
heard, fomiing almost a pause. 



17. PokidjidabA'nga. Ball Game Dance. 

A dance somewhat different from the usual sort, is performed by the 
Creeks to invoke supernatural strength for the players, and the sticks or rackets 
they use, in the Indian ball game.^ Tlie dance tak'es place the night befoi-e the 
game and consimies the whole night. The sticks to be used are painted red, the 
sj'mbol of contest, and hung upon a cross pole sujjported on crotched uprights. 
A line of women side by side faces the sticks and a line of men, including the 
players, on the opposite side of the rack faces the women. Tliey all mark tim6 
anil stamp in unison smging the following songs in which meaningless syllables 
are interspersed with words and sentences having the effect of conjuration. 
The women sing loudest since they are thought to exert the strongest influence. 
Dnmiming accompanies this dance. The Yuchi have a similar ceremony, 
but the song, Yuchi ball game song, presented furtlier on, jjertains to another 
part of the game (see page 209). 

The svllables, as far as could be taken down, are: 



(A) M. M. J 




Whoop. 



*•' The whole repeat four limes. 



^-h-. 



(B) M. M. J =108. 



Whoop. 






Repeat eight times. 




(C) M. M. J =96. 

9 

.^-m-0. -m. .,_» 



=^^= fe^3g =^ ^i=^ 




Repeat twelve times. 



'For accounts of this widespread game cf. p. 86, and Culin, Twenty-fourth Annual 
Rep. Bu. Amer. Ethnology (1906), pp. 562-716. 



F. G. SPECK — CREEK AND YUCHI CEREMOXIAL SONGS. 



183 



[D) M. M. J=138. 



g^E^l^i: 



^^E-- 



\~t^^_^» 



--t=r=--^ 



-»-^-*-h^'-=p=g= 



(E) M. M. J = 112, 



iigs 



a=it: 



::=!= 



•^t: 



t=: 



Repeat nine times. 



^11=^^=. 



t=til|l= 



^-•^*- 



(F) M.M. J= 144. 

!:iJgill3z*±-t:f=ltfit: 



_^_t isi^— => 

Repeal eight times. 



-tai^ — I- 



w-—^ r^r—mi — m — i 1 m — ■ 



Ja-i*. 



-•-. -•-•-• 



k% 



(G) M.M. j=150. 



pgig^g^£gjlig^j|gg 



it==ti:| 



tf?=r-cf-^* 



Repeat six times. 



P_E1 



tfe«^--.==q:rr,-Jr-i^,,^!^rtA-5^ffe'=^^^^ 



(H) M.M. j= 124. 



g^gl^lifep^i 



Repeat nine times. 



Im 



-I — * — * 



;^^ 



x-t^x 



■t-1-w-- 






Repeal eight times. 



(I) M.M. J= 158. 

I — &-^rM&^-. — •--— • — • — • — • — ^ h"i — '-p- — • — -^ 



t=^^ 






Whonp. 



'Mr-- 



^l^iB 



Ttfneat six times. 



(A) hoya yd gam. (Wlioop at end.) 

(B) hyo we do na he. (Wlioop at end.) 

In this and the rest of the verses are words which I could not obtain. 

(C) no ha ya le. 

(D) (E) (F) syllables and words not obtained. 



184 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



(G) he le (once as introduction). 

ho na djl do ga ha go ne ga. (Wlioop at end.) 
(H) he le^ wui ho ge^ and 
he le si ha^ md ho ge. 
(I) djigona' yadoge. (Whoop at end.) 



(J) M. M.J = 190. 

-fftt-yf^y- 1 — I — < — I — I — ' — hn — *— .•- 



^^ft^^^^^^E*EpgEt^EtEf=^Ep£^^=^fEg^ 



F ^ ^ — ^ — I — P-^!— !— F— a — 1~ 



(K) M.M. J = 108. 







H 1 1— I— •H— ta-1 ta-i f I 1 ' 



Repeal fire times. 

J. .p. 



^?--2: 



I — _i — m — I 1 — -I— I — ^ * — I 1 — — ^mB^ -^ — -I — ^'— 1^ — k-j-i — 



■•-r-*. 






!i=tU^it=t= :tur=t=t 



-# — *- 



Repeal five limes. 



?--g-ci:L^ti 



.0-0. .0. 
■I — I — I- 



-*-. -•- 






-f i^^i^ Z-0~n~» p • r ■ 






r^f=Et=S-t=tt= :=t=f 



a— 8=5=^ ■ ^ 



'While the informant gave no meaning for these syllables, hele is like ili 'foot,' 

niahoge is part of the verb 'to say,' hele si hii could be 'foot halter,' and djigona means 
'liuiper.' 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



1S5 



Whoop. (N) M.M.J =190. ^ ^ _ 



~*---»-P*:==«: 



Repeat Jour limes. 




•=^-i 



i^=t=|^=t=t=3 









lr^:^:i — *— •"! '— 



L-fei^irrNt: 



latrr^ai; 



t=t^^=t=i: 



■• ' 0-1 f ra.^ 







p3^ — •^-0-^\T:ti^=f=iz:=.'-=fM:^0iz:=0- 



;^=i: 



t^=g^ »-»-»-»-*- 



.?i 



f :p:- ^ 



g^^^g^^^^ 



Repeat eight times. 



(O) M. M. J = 120. 



^ 



iT^t: 



-• — •— • — •- 



^m^ 



-5— =^- 



-w^^— t- 



^^^ 



-•- -•-_-•- 



i 



i|=n 



^E 



^ 



-•-I — r»- 



• — 0-0-0 • — 0-0-0- 



--W=t- 



it=t^tt=t 



^=^ 



Repeal five limes. 



(P) M. M. J = 112. 



4E^^^^'=;!Jzi;rg=L^l^gz t-|=^-z^^ ^=^^ 




Repeal twice. 



c-Q- Tlr— 'z': 



:l 



MEt 



-0^m-0-, r P -m-*- 



.0^0-ii* 



-P—0- 






Repeat four times. 



1S6 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

Tlie syllables are: 

(A) yd lia ya rjo w6 li 116 In. 

(B) ho we na hd na in' le. 

(C) ha yo we ga ni ha yd we le ha. 

(D) ho na ive le. 

(E) ho we li iKi yo na. 

(F) ho na ive le (same as D). 

(G) ha na di yd we yo ha he. 
(H) ho ga ne yd li go. 

(I) hwe le wd yo na (similar to E). 
(J) wa dji da nd go si. 
(K) ho yo (introduction). 

ho djo no, he le yl le he hd'. (Whoop at end.) 
(L) ha gAn' gwa dji. (With this verse and all the rest on go words 
which were unfortunately not all gotten.) 

(M) Repeat (K) with quick repetitions of badjd, 'grandfather,' at the 
end of the verse. 

This song is ended with shouts and badjd, badjd yo hyo. 
(N) ho we If go ho we li. 
(0) hd yo gd ne 

hatkisA'lgi, 
' white ones. 

IdstisA'lgi, 
black ones. 
tcadisAlgi, 
red ones. 
lanisAlgi, 
yellow ones. 

(P) hyo we na no ha ya le. 

18. TafosobAnga.^ Feather Dance. (Taskigi Town.) 

One of the few Creek dances perfonned during the daytime was the 
following in honor of the animus of the feather, tafo. This dance, a long and 
important one, was intimately associated with the ceremony of the emetic so 
prominent in the rites of the southeastern tribes.^ Each dancer held in his 
hands sticks about six feet long with a fringe of white heron feathers attached. 
They had to pay a shaman to make these wands as the heron feathers were 

'Tfifo, 'feather,' -s- verbal element, obA'nga 'dance'. 

''See p. 115, and M.A.A.A., pp. 140-141. Between the songs of this dance the 
participants drank a decoction of red mllow root and button snake root which caused 
them to vomit. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



187 



sacred, and could only be handled after the jDroper rites. They insured peace 
and protected the people from hiunan and supernatural evil. 

The Feather Dance was rather spectacular. Picture the town square with 
its four brush covered arbors filled with interested spectators in the midst of 
their annual religious festival. The dancers clad in their calico finerj', with 
ostrich and other highly colored plumes in their liead bands and their fluttering 
wands, start circling in a smgle file behind the leader, the drum and hand 
rattle beating time. At the end of the second song they group together in a 
squad, elevate their wands antl nish whooping toward the west arbor of the 
square where the town chief sits. Bringing themselves suddenly to a halt, they 
raise the wands high, then drive them into the earth before the arbor. This 
perfonuance is enacted successively before each of the four arbors, after which 
the occupants take a drink of the emetic. 

Kabitclmdla knew the fourteen different songs of the Feather Dance which 
are offered here, but ma^^' words in the last songs were not obtained. 



(A) M. M. J = 112. 
••-•-••■ 



*_«_,.i-. 



f^^-tr- 









(B) M. M. JV = 176. 

' — I — Z^~^' 



3ii:Etez::l 



ilESi 



-•f**-rl — ' ^-r.'^B*-*" 



^^:^ 



Repeal three limes. 



4>»-»-»~«- 



■» — •-•-!-•-•-=-•-•- -' — ' — ' — I — I — • 

■I 1 — I I ^ — g-i — I — -^ — »a^ 



-P-Sl- 



(C) M. M. J= 15-2. 



•- " -m. .,. 






3 _ 3 



_^ — .a L ^^^~" 



;te£S^ES 



^■^ 



itirtW: 



tc|: 






r > » > 



TlVioop. 



— ^~w-» 1 — * a -IS ^1 1 

■» — 1^1 — I — »~0-^-\-0 — •-•-= — p^ _ :i — ^ — I 



(D) JI. M. J =- 208. 




Repeal five limes. 



188 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM. VOL. I. 



(E) M.M. J= 200. 



I — ft-iritttt .—^-^-t — t— •-• — r»-» 1 • •-« r*-* n 



Repeat six fi'mes. 



(F) M.M. J =104. 



-•-^n* 






U=^^f^: 0-0 i=, 



j^0 0-0-0-0-0 r — I — 0-0-0-0- 



ZSZiZMZSSl 



■ — 0- 0~\ I I — I 



• • • • 



p=g:^u-»^,-,-,->-,— pp=zg^^. :^r~ f=p»= ^f- >->-*— F T=N^'=^^ 



0—0- 



Exclamation. 

-0- -0- 



« LL -m- -m- -w- -w- m 

-Jt-ff++ — • — 0-0-0 — I— 1 1 — •-•-•-• — I — I ^m — p^ — I y — I y — V—^ — i =-il 

^ -S— ; — ^Ui'~.a~ i [ ! ^ ^Ui~i — r '*~*"^~«'"*~*~' -^— *- — ^-p— F — q- ^ 

*■' Hepeat twice. 

(G) M. M. J = 80. 
_A » ^^^. ■■•■ '^" "•■ - 



-0 — •- 






:tzti 



:t:ti 



v=t= 



tir 



'■0—0- 



t— I 1— si— 



(H) M. M. J=19a 



„ It lionp. ^ ' J 

F^ffff=i^=i=F»=i=T| — — — l-T-i^ 0^^^0^—\^0-0-'-0-^'0^\^0 0^-0-0^0^ 



Repeat twice. 



3=t=t=t=t 









Repeat tioice. 
(I) M.M. J= 190. 



Repeat four times. 



=^ -•- -•- • -0-0- 

s s-M-M — r*-'—' 1 — •— • — r I — I — -M 






.*- -0- 



i^=a=t=i 



:»^!:_i — Fi— •-• — 0-0- 









Repeat three times. 



19. 



Feather Dance. 



(Tulsa Town.) 



Fortunately for purposes of comparison, Kabitcimala was able to sing a 
version of the Feather Dance which came from Tulsa town, a Creek town-tribe 
northeast of Taskigi. (Cf. map, M.A.A.A.) This he learned from a Tulsa town 



F. G. SPECK — CREEK AXD YUCHI CEREMOXIAL SOXGS. 



189 



leader years ago. The version is interesting ethnograi^hically because it shows 
that in such details the various towns differed from each other. 



(A) Allegro. M. M. 1=152. 

n u , -f - *- -*-' ^- a-*- ■•-• -•-' -f- m.-*-m m m. -*-*- m '- m m m m. 

I — a — 7i^~7i — ' ^j — I J I ^ -*-' r' •i'— "i-a-" — •-^-H — I — ^i — '-"-s — a-" — ^^ 



Repeat eight times. 



(B) Presto. M. M. J=190. 






1 h 



-r * »- 



t=iiit: 



:*— •- 






:p=p= 



2«=s: 



1^ 



It 



■» » »- 

II I 
Drum beat. 



it=g=;=t± 



i 



±^=f=:f2^, 



(C) P)-cs(o. M. M. J =104 
-»-0-0-0- -»• 



'^-^ 



•:#= 



±*; 



E^gE^ggp^ 



-t 1 — — t— I — h- 



#-• 



(2 



P^^l 



zlatt 



Repeat jive times 




■» • • ^-f-0 • • • 0-b: F*-» • •-• • Fi 

I ^ — I — I — H I I — ^ — i — a* — — I — I I — [ — I I H 



11 



■0-0 — • — 0-0—0—1-0-0 — • — 0-0[ 



/TV -•- ^-^^0-0-0- -0- . 
— i-i — I — \ — 1 — I — I — i-i — •- 



i 



:$=r= 



• — • — •-• — 0- 



it: 



-f:::r-f5;- 



-^-0 



Repeat five times. 



ttz: 



itt 



:tz; 



-0-0a ^0^0-0 — 0-0-0 — \-0-0-0 — •-•b F»-»-» — 0^0-0-^1 ■_ 1 



Repeat three tiinea. Whoop, 



(T>) M. M. J = 138. 



ing 



.«_^«_:fi-:fi#_«-; 



W 



■I — I — I — • — f — 'H-'— ^ — I H^=P 



r^^=* 



^—f—m- 



y>-t-- 



-i — I — ^ 



.•— •— H 



'' "^ ^ #^.«-^--^-< 



it=t:=t 




^SfelHE.^ 



-•— *. 



;: — f^-ff^n- -m—0 



ili^ 



Repeat four times. Yell. 



The syllables are: 

(A) ho si do,' yd na he and 
ho si' do si' do ho ya le. 



'While no meaning was ascribed to this when it was taken down, it nevertheless 
means 'to forget.' 



190 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



(B) hd no go wa ll na. 

(C) ho ll ya, yo ha no ga yo ga ll'. 

(D) holenewayone ydnahe^ heya. 
Tlie veil ha'^ vo wl' concludes the song. 



(Whoop at end.) 



20. ObA'ngaha'djo. 



Crazy Dance. 



One of the favorite Creek dances is the Crazy Dance, so named because 
the participants behave like wild people, men and women taking freedom with 
each other's persons and acting in general in such a way as to provoke mirth. 
The word hadjo is peculiar to the Muskogi also as a personal name in the 
sense of wild, clever, funny, crazy, and withal in no way opprobrious. The 
songs for the Crazy Dance usually are funny or obscene stories, which in con- 
nection with other traits, suggests that in some way there is a connection between 
the dance and the idea of procreation. In other respects the movements, 
motions and accompaniments are similar to the other dances. Licentiousness 
usually follows after it. 

A peculiar feature of the Crazy Dance is that it is customary for the women 
who take part in it to pay twenty-five cents to their male partners, a practice 
which is found also among the plains tribes. 

(B) M. M. J =174. 



P^-fa-4— •-»-• — »-•-•— I — - — I t-m 0-0--0 »->— I — -I — I -0 t~0 — >-•->— p— I — I — 

9 

^ M-0 -0. ' —. * -=. 

h-4— I P-^-«_«--^J_# -3- ,-L.,J5- « « » ^ ,-±-,_^ 

immd 1— ^ — I \-\ — I — I f'f'f — ! — ^ — I rl ' I — *~f~T — I — ■ — — 1 



I — H 0-%^- * ;- • — r» 3 ^ -3— a i • — r^ 



a a 3 



-^-0-m—0.mjt^ 



Til^SiZ 



:f_r-^=5^g 



!— !— I trizzl— 



V— ^— r*-*-*- 



V — I H — 1 — I 0-0-0 — =-r0 — I — 

1 l-taM^ 1 — I — I '^V — I — 



:5=t 



F. G. SPECK— CREEK AND YUCHI CEREMONIAL SONGS. 191 

(C) M. M. j = 96. 



-«— #. 



Whoop. 



f P-w-f-*- 



h-'^- 



•-•--—• 



-: — I — * — ^ -I u 






;i^^=i 









^^^ 



\^^^^^^^:^^^ 



*/~i — 51 — 0- 



-U — 



i^ii 



( D ) 51. M. j = 13G 



Repeat six limes. Whoop. 










Repeal four times. 
(E) M. M.J =; 1.50. 



^ — I— I—! h- 



^feCT^Ct 



-*-^ 



SStE^^^EStfcEE^ 



-•-•^ 



-•— •— •-^.^-*. 



t-^>-'r*-^ 



-h — ^- 



gsi^^^^^it*^^f^ii^^i 



p gte 



Repeat three times. 

~h^;^[ — ^ " — i^hl — I — — ^^^ — ' — 



Si 



-#—•—• — 0-^-^—0— - ^ 



iSiSinti 



-0—0 — 0^-ft~0- 



Repeat twice. 



192 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



(F1 M. M. j = l'i«. 



a: 



?r4=L^ 



m 



CS2 ,„„| 






■I h- 

,t=tl 



-I p — I — I — ^— i: — I — I — ^— I — H 

-0—0 — -, 



•- -0- -•- -*- 



%fe=Eg-l^_ 






.0-0—0—f- 



t==::t=t 



^t 



-*— *- 






#. 



jj I 1 ^ — 



zt^t 



H • 1 1 H 



-P- -^- 



it=t: 



Repeal four times 



Pi£:^ 



/ (G) M. M. 1 = 40. 



-• -•-• 



•-». 



-2-/1. _ 



^1 



TFAoop. 



:=izfe=* 



^=^: 



t=^- 



-r-*---#- 



-«--«.-•- 



iPJi 



L-i, •-#- 



-•- ■*- 



-0 • 



Jt. ^. ^ M.T- ■*■ 



ri h 



-#- -#. 



:&^fe= 



:tP=Lit=Uit 



-^- -^ 




ti 



_:ri;^..JL 



-*- -•- 



■0-' -p- 



-* — p- 



E^ 



TTAoop. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



193 



(H) M. M. J — 144 




Repeat eight times. 



The words and syllables of the various songs of this dance are: 

(A) Introduction not transcribed. 

whoop yo hyo, yo^ o^ ho hoi. (Three times.) 

yo nyo, yo hyo. (Four times.) 

a ha, aha. " 

ye hj-e, ye hye. " 

yo hyo, yo hyo. " 

we ha, we hd. " 

wehiya^ii, wehlya^a.. " 

we he, we he. " 

yo hyo, yo hyo. " 

The above cries by the leader and responses by the chorus are continued 
while he walks circling about the fire on the dance grovind. At the end the 
leader gives a long whoop and the line breaks up to form again soon and repeat 
the whole. After these two songs, the dance proper begins (B). 

(B) ya li ha yo ha, hd he. 

(C) he ya hi ya ha, hd we hd (or) 
hyo wa hi yd, ha., yd we hd. 

There are some words to this verse, but all that could be obtained was 
"ya ma talofa, this here my village," meaning "this is where I belong," and 
"tcahiislka siitki, my hat is too small."' 

(D) he ga yo wa li he or yd' hi ye. 
gi. hyo wd, li he. 

(E) ya we he yd ya, a hyo' he he. 

'Another example of these interjectional phrases is mdkosfgodesfm "he never could say- 
it before, (but he can say it) now," from a dance song, as I remember it, in which the burden 
was hd.koiydka ted, and said to mean "come on with it. " 



194 ANTHROPOLOGICAL PUB. UNIV. OP PA. MUSEUM, VOL. I. 

(F) h€ ya hi' ya' we, hd hi ya hi ya' ice. 

(G) (H) yo hyo, yd wa hi yd (Repeat several times.) 
tci'lakkobai'ka, dmo'padedjcs. 

[my] mule, saddle him for me. 

hdyapohlkko, djoIddiidfAn . 

[on the] prairie big, when we get there, 
yanasadjifA'kna, iluljadf.\n. 
buffalo young bull,' when I kill him. 
tcahaiwa, itskl, tenhambwfAn. 

my wife's mother, when we eat together, 
tcahanlofa, wdsasimlkko. 

when she scolds me. Osage chief, 

inhad f sinof a, ivdsasos\'lgi. 

when I become his son-in-law, many little Osages, 
odjiitskaiofAn. 
when I made them, 
hayadiiljaiaklca, hddjahdlwadjofa. 
morning star big, when it is rising, 

pfnadjadjahoga, djd'hogmp&hdt. 
old turkey gobbler, when I hear him gobbling, 
dmidjali'ska, A'ngnlondyid. 

my old gun, I start with it on my shoulder, 
ayi'bit, I'lolaiofa. 

I '11 go along, when I get there, 
idoladjilaklvo, hi'djnt. 

[on] tree limb big. I'll see him. 
fdohwi'ian, isi"djdt. 

on a tree standing, I'll see him. 
hcasmlla'yat, idjd'hat. 

I'll aim at him, I'll shoot him. 
lahii't ilidjiitlolut, tcd'haiwa itskl. 

when I shoot him, I'll kill him, turning. My wife's mother, 
laidjogosdjat, limlagaojn. 

I'll take it on my back, when I get there 
tcahadjawA'lgi, plnhokpiaMswa. 
my sisters-in-law, turkey breast meat 
dinliamblofa, sidihanlof \n. 

when we eat it together, when they begin c|uarreling, 
sfdibohin, isnafa!kdt. 

fighting with each other, I'll knock them about, 
dndalogi'bit, (Whoop.) 

I'll eat it all up myself. 
Tliis ends the song except for some repetitions of he'ya wa heya, whicli 
also iaterrapts the text in a few places, acting as a sort of pause. 

'The informant gave " young bull elephant" for this. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



195 



Tlie sense of the above p^imiti^•e lyric song is not very clearly expressed 
in the interlinear translation. The siiiger changes his tense, mood and voice at 
random. First he orders his mule saddled to hunt buffalo on the prairie. Then 
he depicts the scene with his mother-in-law when they eat together and ends 
with a quarrel. For revenge he goes off, marries an Osage chief's daughter and 
raises children. Next the scene changes to an early morning when he is hunting 
turkeys. After getting one he packs it to his old home and leaves it among 
his sisters-in-law. They fall to quarreling over the breast meat, whereupon he 
takes the opportunity of knocking them about and eating it all up himself to 
pay off old scores. The song appeals profoundly to Indian humor and is well 
knowTi among the northern Creek towns. 



21 . ObA'nga ha'djo Crazy Dance. 

Another dance song of this class is the following from the repertoire of Laslie 
Cloud. Inthesecontlsong (B) alternating witli the nonsense syllables as given, 
the leader wa.xes confidential about some girl of his town, but the text was 
not obtained. 

(A) M.M. J = 120, 

-3 






-i»-i»-f 



:S^^ 



:t=t=t 



-w-m—n—m^0 0-,- 



--m»~m- 



Iri 






Whocyp. 






Ilepeat Ixoice. 




^0- 



— (-•-^— r»-»-»-»-»— I — , 






-•-.^it .*., 



^.^' 



196 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



-I — I — I — I — I — 



H-i — I — I — i 1— I— I -•-! r-h-h 



^**>g=! — I — F^ h-'-^^- i — i-F -'»»ng= | — FH 



-1 — " — i~t— 9* 



■1 — ^--— s-» •-! — •-•-•-» — I 1 ^ «- 



^i 






I — 4j »-^— *-<— »-i— 



,•_«- 






:£.^£SE 



^^E!^^EgE^E;tlg^^ 



>•-••-••—•- 



=1^1 



■•-•-•-•-# — I — 



fe.. 



-•-•-#-• — •- 



=t=t-- 






--I — I — ^1 — j — I — h-^^i — I — ^- 






P— (4- 1-— ^1 — ^ — I 1 — I ^» — m — I — ^j^ — I — " — I — ( 



:^i-rfzzt=r- 






^l^gMj 1 * r~»-^—»-m [ 






=i=E=h= 



±=^zz*=rpc 



I — g- r-#-T^-— — zcig~*~g~g^*~;i"c:p;zg^^^~*^:rj 



_^*. ^ 



'&#-»->-« — • — »- 



■h^-f- 



-•_^- 



TI'/ioo;) 



The burden is : 

(A) Mwe go yd^ a le 

(B) yoha li ne 
dhl ya ha ll'ne 

(The words of the song alternate with the above syllable groups. Only a 
fragment of the text can be given.) 
hdgin safotki 
noise ? 

hwi'djada fuski 
? sharp 



F. G. SPECK — CKEEK AND YUCHI CEREMONIAL SONGS. 



197 



3. (Second Version.) 

A duplicate version of this song is offered to show how various renderings 
differ in details. 



(A) M. M. J= 126. 
I 0— |>-t •---•-•-•-! 0s i-r*--— •-•— • — F •-« — w 



.0.1 — g-0 — — I * I — 0- 






■•—-•-•-• — f- 



:Ea=l= 



Repeat five times. 




■0- #-■ 



Whuop. 



i^ae^i 



Repeal five tivies. 



(B) M. M. J= 120 




S^Tl^ 



Repeat six times. 
22. Ha'djobAnga^ Drunken Dance. 

The main features of this dance are like those of the others. The partic- 
ipants follow the leader in a circle around the fire. Dnunming and rattling go 
with it and two women wear the leg rattles. The dancers reel, jostle one another 
and act in general like drunken men. Oftentimes they do not need to act it as 
they usually dance this at a time when many have been drinking. It seems to 
be entirely a pleasure dance, probably of modern origin, embracing perhaps 
some idea of propitiation. As in the Crazy Dance, the remarks on which also 
apply to this, the leader may compose words for the song, improvise on the spot, 
or merely keep up a meaningless burden with a few expressions here and there. 
The songs are usually ludicrous, sometimes telling a story or some clownish 
anecdote. 

(A) M. M. 1 = 108. 




'Ha'dji means 'drunken'. 



198 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

(B) M. M. J =- 120. 



Sii 



5 



•-*-*-•- 



-l>— b 



6 



6 



m m — . — 0—0—0 ^ »—0—0 ^ —'' ^^m- 

Whoop. 



,^. 



-0 — r»-»-» 



-=as=-g-r 



Ri-peat fnnr times. 



(C) M.M. 1 = 108. 



tzs=fzztzzi^ 



B. 



fi=t 



SE 



:[:= 



#— r*-»- 






*: 



;l 



-u'— ■— 



:^t=b 






liig;^ 



t^: 



SE 



■•— r* 



-!•— I C 



i — H>- 



I 



+__« — 0- 



:t=zz 



TT^^oop. 



(D) M. M. J= 120. 









Repeat nine times. 



tt-^ 



1 



Si 



■4 1 — I—* 



.0-0^0. 



t:tr--a: 



.^— * — •- 



it=tr-i: 



JFAoop. 



Repeat six tiines. 



(E) M.M. J =116. 
^e.. -»_ g- -^. - ^ -(»- 



it=l: 



^^-P 



gg^;^?=«=p=ai3if=^zr=: 













#-•-•- 






(F) M.M. J = 106. JiS 

Whoop, n U .m. • .0-0^. -^^^ 



l-H-.»-=P= 



Repeal six times. 



g^A^gg 



•— -^^- 






:?=i^=i; 



-I — I — t 



M 



rt=t=t= 



F. G. SPECK — CREEK AND YUCHI CEHEMOXIAL SONGS. 



199 



Whoop. 



(G) M. M. J = 110. 




Whoop. 



(four times.) 
djakedjiba. 
she says to me, 



liepeat six times. 



Tlie syllables and words of one version are: 

(A) ho li na w6 yd wa hi yd. (whoop at eml). 

(B) h^gaya kdyoiodli. (twice). 
gilago djahddji 

I don't know any thing I am drunk 
nakliomi temiski 

something strong we drink together 

fstamahedohaks. (whoop at end.) 
something wonderful, is it not? 
Repeat with the following in which one of the women is supposed to be 
speaking: 

we he yo na. 
hahwebage, 

let us go, 
djahesigo. 
I have no husband, 
djindaba tamonayas. 
your bed, tell me where it is. 
djihA'de nene lamonayas. 
your home road, tell me where it is. 

(C) no he yd le. (first five bars.) 

djihi waka sumhogi alis. (woman supposed to be speaking.) 
my husband lies [I will] run away from 
do^ii, him and wander, 

djehe laga siimhogi ala. 

my husband stays home, [I will] run away and wander. 

djahe laga sumhogi alis. (man supposed to be speaking, 
my wife stays home, [I will] run away whoops at end.) 

and wander. 

(D) ho ya we. (repeat a number of times.) 

lisala'gosin tcinlia'sin. (from here on through (E) man is 

when the moon rises I'll cohabit with you, supposed to be speaking.) 

y^nadegA'n nalkabad^gosin tcinhasin. 

here in the entire abdomen, in the centre of the body. I'll cohabit with you. 

(E) ya li go yd no he. (repeat a numlier of times.) 



(man supposed to be speaking.) 
(whoop at end.) 



200 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



nodjaiis ni'H hamgosiis, 

I'll sleep with you night just one 
nini dimbosas. 
road close to 
nili ostosris. 

night just four 
djogo li'skosa. 
[in that] house old 

nfli palosiis lisnodjas. 

night just ten I'll sleep with you. 

(F) ll' SO sa 3'e (or) he go da li he. 
W so gii li he. 

ehe debkadjoks djikal hodjikal hosa. 
husband will whip her they say of you, they say 

of you. 
ehe ndfkodjoge 
husband wiU strike you 

(G) ha H na wc ya he 



(whoop at end.) 



(an outsider is here sup- 
posed to be speaking.) 

(whoop.) 



djige' hodjige' esa. 
they saj' of you, they say of you. 
(and) 

yo ha \\ na xve^ e' he he ya. 
djinhokoigesa djige' hodjige^ esa. 

you he will call, they say of you, they say of you. 
hehenoe'gesa dpge' hodjige' esa (whoop at end.) 

when you are called (?) they say of you, they say of you. 

An interesting feature of this song is the role played by the leader in which 
he impersonates a man, then a woman and finally an outsider or public opmion. 
The choms of dancers follow along as best they can with the song, or else suig 
he ya or some common burden syllables, at the end of each phrase if they do 
not know the words. Through long popularity, however, this kind of song is 
generally well known. The words are given as they were heard without any 
attempt to nomialize the variant renderings.. 



YUCHI DANCE SONGS. 



Tlie following small collection of Yuchi dance songs was oljtained from 
Ekilane "It has left me, " a second chief, Ku'ba, "Creek Indian," and 
Fag6^o"wi', "Comes out of the thicket," and Jim Tiger. The main features 
of the dances to which these songs belong are about the same as those of the 
neighboring Creeks of Taskigi town, wliich have already been described.' The 
music, however, judging from what is available, seems to differ materially, the 
Yuchi songs lacking the vigor of the Creek. Owing to the close proximity of 
the two peoples they participated frequently in each otlier's dances. Now that 
the Taskigi have given up their own ceremonies they attend those of the 
Yuchi, generally using their own songs wlien invited to lead dances. 

Tlie musical instruments employed by the two peoples in their dances are 
identical. In regard to the town scjuare-ground which is at the same time the 
dance area, there are some points of difference which should be noted. Tlie 
Yuchi sfjuare-ground has only three brush-covered lodges, one at the north 
side, facing inward, one at the south, and one at the west, but none at the 
eastern edge. ^ 

Phonetic Key to Yuchi. 

Glottal catch^, fc and g surd and sonants similar to the English; I and d, 
and J) and h rather difficult to distinguish as to their surd and sonant quality; 
c like English sh; surd tc like English "eh" in "church;" dj corresponding 
sonant; s, ts, f, n, I, and dz similar to the English sounds; 1 as in Creek, as are 
the semi^'owels. The vowels have the same ciuality as in Creek except d, 
which is like a in English "fan." Vowel prolongation is marked by a dot 
following, •, and !, and accent by '. 



1. Diito^a' ctl. Bic; Turtle Dance. 

This dance is the first and most formal dance to be performed on the 
occasion of the annual ceremonies. It is in honor of a creature called Big 
Turtle, Dato^a', a supernatural horned reptile, denoted in Yuchi as a turtle 

'For an independent account of Yuchi dancing, see pp. 124-130, 112-113. 
'See pp. Ill, lis, also Plates XI et seq. 

(201) 



202 



ANTHIIOPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1. 



though having a snake-like body, which figures conspicuously in sout'ieastern 
mytliology. Tliis being is associated with the rainbow, storms, thun er, 
lightning and also disease. A stuffed deerskin effigy of the creature colored 
blue rested on the ground in front of the north lodge of the town square, in 
fonner times. 

As I have given a more detailed account of this dance in Part One of this 
volume, an abstract from the original source^ will convey a clearer idea of the 
scene. 

Tlie dancers, grouping themselves about the leader who sings and rattles, 
fonn a compact mass and begin moving in a circle. A woman with tlie leg 
rattles, joins the throng of dancers when they start to circle in single file about 
the fire contra-clockwise. When the leader finishes the first song he whoops 
and the dancers disperse for a short interval. Soon the leader begins circling 
the fire, singing the introduction (A) and the dancers who have been resting, 
seated in the lodges on the square-ground, file in again behind him. No drum- 
ming accompanies this dance. 

The following version of the song was sung by Ku'ba. 



M. M. J = 164. 



• — r»-= — fS • — r» — 5 — «! •-- 1 




Repeat several times. ' 

Tlie above is a sort of gathering song which is continued as long as the 
dancers are grouped closely on the corner of the square-ground. Tlie syllables 
are yo hyo, ho' (the chorus joining vigorously on ho'). 

When the leader breaks out of this grou]) and starts dancing and rattling 
toward the fire he changes the tune to the following, which is continued until 
the end of the first dance. 



(A) M.M. J = 



100. 




Repeat five times. 



« (B) M.M. J =128, 






::i=T 



-XrX- 



=A^P' 






I 



Repeat eight times. 



'See pp. 119, 111 and Plate XII, 1 aud 2. 



F. G. SPECK — CEEEK AND YUCHI CEREMONIAL SONGS. 



203 



The burden syllables are : 
(A) ho yd ni yo yd nd. 



(B) he yo we ha) ^ , , .. . , 

..,> yd le ha or yo he ya. 



or hi yo, we ha' 



Gahfish Dance. 



2. Cucpa cti. 

The Garfish or Pilte, cucpa, esteemed as a food fish, is honored by a dance 
in which the rattle, in the hands of the leader, and the small water drum in one 
of the square-ground lodges accompany the song. So far as observed there 
are no special features to this dance. 

(Duet of treble voices.') 

FalseUo. 



m 



-H-^ — I — m-^ 1— 



*^ - 



.•- .*-^ M- .m- 



5ii^|=Utl 






(A) M. M. J^ = 138. 



-•---•- 



I 



zr ^« ^ 



S: 






^ 



-tt—^T»- 



■i-^-^- 



^ 



0- 0^ 



-»-g- 



:=F^=i^ 






(B) 
^ ../- 






Cry. Cry. 



K 5^ •-; — ^ 1 1 — ( — I— tj^# 1 1 — ^— <— 1»^-#— I [—^ 1 

s z -—^ — )_»_»_i:^_» \-m-0 — I — « — • !-•-• 

V -»- 3^ s -0-3 3 



I 




■V V V- 






fib-*: 



f 



=! — ^- 



m 



— ^- 



I ^- 



r^-^^v- 



-•-^- 



-N— =1- 



1-0-0 — ' • • 1 0- 



^ Lj 



i — -0 — 0- 
M I 



\k ♦^■^ 1 — * — I — \- \ — g — I — -0- -! — -0 — I — * 1~^ — I M — ^-r-»-l-^-^» — ^— *-R^^!| — I — Fl 



'Sung by Fag6^o''wi and Ku'ba 



204 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

This song has an introduction shown in the first two bars, the syllables of 
which are ho ho, ha ha, he he, ha ha', ho ho, uttered rapidly by the leader while 
walking about the dance circle before commencing the song proper. The 
leader sings the first syllables, the chorus of tlancers alternate with the 
underlined ones. The song begins at (A) with the unmeaning burden of 
we he ya ho ll rut. 

At (B) several cries begin the strain, after which the burden syllables are: 
we ha yo hdyo mi. 

At the fifth and sixth bars the cry wl he ho' is given twice. 

At (C) the syllables of (A) are repeated. 

3. Tsebe"bene ctl. Drunken Dance. 

A favorite dance with not only the Yuchi, but also the Creeks and prob- 
ably other southern tribes, is one known as the Crazy or Drunken Dance. 
To most Indians this is purely a pleasure dance. The men who participate in 
it are usually as much under the influence of whiskey as they can get, the idea 
of the thing being to submit directly to its mysterious magic inflatus. The use 
of whiskey among the Creeks and Yuchi as a stimidant to the senses as well as 
to the singing and motions of the dancers, seems to be similar to that of mescal or 
peyote among the tribes farther southwest. Not all of the dancers, however, 
become drunk nor is it even necessary to have drink. The aim of the dancers 
seems to be to reach a high pitch of excitement, which is, of course, helpetl out 
by whiskey. With the Creeks this and the Crazy Dance are supposed to be 
the occasion for taking extreme liberties with the persons of women participants, 
but with the Yuchi the feeling appeared to be somewhat milder, though its 
obscene side was not entirely lacking. 

There are, as at all such gatherings, some women whose chief object in 
coming to the dances is to gratify their passions with different men, and it may 
be with the Yuchi at any rate that this dance, coming usually among the later 
perfonnances m the small hours of the morning, occurs at a time and under 
conditions that are naturall}' less restrained. I presume, though, since one 
has to judge from a relative standpoint, that by some the conclusion of this 
dance upon certain occasions would be described as a scene of uproarious 
debauchery. 

The leader accompanies his song with the hand rattle. Two women with 
the leg rattles enter the line of dancers at their third or fourth circuit, coming 
from between the north and east lodge. They fall in directly behmd the leader 
and keep time stamping each foot vigorously. The volume of sound is quite 
intense. Before the first song is concluded these women leave the file, only to 
return again as before when the second song has gotten starteil. 

Wliile no words nor expressions appear in the version offered, it is never- 



F. G. SPECK — CKEEK AND YUCHI CEREMONIAL SONGS. 



205 



theless a common practice in this dance to introduce ideas, sometimes of a 
suggestive obscene nature, sometimes in ridicule of different persons.' 



(A) M. M. J = 148. 



-i— •— F-^s^ 



■• — •— +-• — #- 



-J*l-r4 



-•-J-# •- 






^==m^^-Z-^ 



J=^:=^. 



- s—*-. 



^,^=1: 






-^-S" 



i^^^ 



-Ri^-H- 



*t— 1- 



:^:3itit 



a^^gfe^^ 



FeM. 



=^r-^^:i= 



(B) M. M. J = 102. 



^^g^g^=^i^g^^^M^^^=t ll3 5EgE ^^ 



Repeat three times. 






¥ 



^ 



CSE — — 1-0— 



■^-*-»-#- 



tlttJl 



— I 1 1 1 i-Ph 1 I ~| 

-0-0-0-0 — \-\-0 — #-#-3 



'^^^^^-t,-r^P-0-0-0-\i^-=^=li:=^-^:=^ -' S S S ^ ^ 

1(1) V 1 1 — I — I — I 1.0 — 0-^ — I — I — I — I — I — I — I 1 1 1 1 — 1 S— H 

,SZ ^ta^^— t ^ CT t-0—Ci-0^0-0-0^^—^0 #_,_C_, ^3 

^ 1^^^^ -M- '^ Renent hm'r.e. 



Repeat tioice. 



(C) M. M. J = 94. 







Hy-=)- 



tglE^^ 



Repeat three times. 



*=ii 



a=r3_;_j^^^-j:zj|=H^J 



■*^^^=^F^^^^==^i=s=t«=s=S-"i=3^«=i=s=i=^3 



-*- -*■ 



*See p. 129. 



206 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



Yell. 



(D) M. M. J = 100. 






Repeat twice. 



i i — * "w . — 1 — I — I — I — LJ^^^ — *-J-tj — LB — J-T— I — I — I — I — '- *— * — *— -^ 

tj ' -# — \-0 — t- • • • • • • • • .0 — 1_^ — I. • 



Yell. 

t> * -• — ^- -• — ^. • • « • • • • -• — 1- -• — I- 



Repeat four times. 



(E) M. M. J = 92. 



S^M^*=*Et5^ 



i 



» — y- 



H 1 1 1 1 1 — ^ 



#^=^ 




(F) M.M. J =104. 



m 



— I — I — I 1 



'^ 



i^i,;^rj^3=<^ ziz^ ^ ^^J^M^. 



w—*- 






3=^=53' 



^- — — \— 



-K — J ^ — ^- 

. ' 3 -•- -•- 



-^- 



i 



Repeat Imice. 



ya' hi ye (and) 



The meaningless syllables of each song vary between several slightly 
different groups. They are: 
(A) 3'o' wa hi 
yo' we hi 
(R) ho' wa ll na ya' hi ye ya' hi ye (and) 

ho' ya li na ya' hwe yci' hi ye and yd' ive he ya' 

(C) yd le ha, 3'o' ho we he (and) 
ho' we, ya' ha we. 

(D) yo' na na, he' na na. 

(E) ha' we ya wa ya he' he ye (and) 
ho' we ya ho we ya he' he. 

(F) ha na ho wa' li yd' wa li ha". 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



207 



4. 



YucHi Dance Song. 



Tlie following is a typical Yiichi round dance song. It was sung bj^ Ku'ba, 
who often used it when invited to lead, but he assigned no particular name or 
function to it. An accompaniment was provided by the drum and hand 
rattle. 

(A) M. M. J = 126. 



iS^ 



-•— *- 



--^X 






m 






n-- 



itTTt 



3=J^=^=;3=^= 



-•-•—^•-•— «-•-•— «-#-# 



^ 



m 



izac 



J=t 



:a==I= 



» 



P=l=.-3;=q: 



^m^^^^^m- 



m 



PesS 



^E^ 






*i 



(B) M. M. J = 



120. 



-0-0-0-0-0 



l-i?k--n-"-F7-U-' — I — I — I — ' — I — I — I — I — I — I — I — I — I 



2 !4^L_^_» » 0-0 0-0 0-0— * 0—0 — 0-0—0-0 1 



(C) 




J -*— *- *-»-J 



< — ^ — \ — -{- 









-K — i \^ — i' 



N — ^- 



I 



-N-F-A 



i^=:^z^: 



r*zizat 



-•-*— H d- 



-N— 1- 



i 



ft 






H-^ fS— i- 



-IN «*- 



208 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

(D) M. M. J^ = 184. 




-•- s- 



-•- -^ 






-q-Sl-Il- 



-•— =- 



.« 1 1 — • • ! 



Repeal three limes. 



:tt:i 



(E) 



tS Z — — :!— *-^— J^— a-T-?— •— •- 



5=S: 



(F) M. M. J = 148. 



t^3=ttt3=rS 



Repeal three times. 



tm 



m 



^~ 



%k 



(G) M. M. J = 132. 



, ^=1=1= 



"S^—^- 



h^ v»-» ^- f 



Repeat four times. 



P:b; 



r-jzi^zqin 



^f=» 



i — * — ^ 



:fc=1: 



-» — ^- 



-• — •- 



fcinl 



;=^=f 



b.-j=zt=*=t 



3^Ei^3^E3: 



■i-^=rM~JzM 



-* 



^1=^ 

-•—•—•— J 



* 



rjizc! 



ZrJzizM. 






'■" Repeat three times. 

The meaningless syllables are: 

(A) Introiluction consisting of repeated yo' hyo, a' hye, we' ha, 
a hi ya^a and other similar variable combinations. 

(B) yo ya ll ha. 

(C) ho ho a h6 hii, he he h6 a he. 

(D) w^ hii yo wa li hii. 

(E) hd we le hii. 

(F) hd hi ya hii', d hi ya hii'. 

(G) hi' we yu' le, hi' we ya^ e, ha yo ha. 

5. YucHi Dance Song. 

The following is another typical round dance song sung by Fag6^o"wi'. 
(A) M. M. Jz=84. 






F. G. SPECK — CHEEK AND YUCHI CEREMOJ>JIAL SONGS. 



209 



(B) M. M. J = 100. 



I5^T=E 






l^JrEB= 



— i-M. — 1_ 



iSit*zt 



•3=^=s= 






rit. 



(C) M. M. J' = 176. 

isipa^Eia^iiiiiiiiEiii 

*-' Repeat twice. 



a tempo. 



m 



^^^^4-- 






if;isii3^-i 



The syllables are: 

(A) Introduction with repetitions of yo ho, ya hwe' li, 
ha hi yo, a hi yd^e. 

(B) he yo li yo ha ] 

he yo we hi ya la V var^-ing repetitions. 
we ha yo na. ) 

(C) ka yo wa ll, yo wa li he. 



6. Watsone ctl. 



Ball Game Dance. 



The following dance takes place just before the racket ball game' is begun. 
The players, with their ball sticks in hantl, stripped and ornamented for the 
contest, dance about their goal posts to surround them with protective magic. 
(A) M.M. J = 116. 



:4z 



•— #- 



'^^m^^^ 



;B iis^;gasg; 



1 — \- 



^m^m ,- 



«— • 



1^ 










li 



^ 



(B) M. M. J = 88. 



Hepeat three times. 



z&-± 



?J?ii^iPP^^^^s^^ 



i 



M-- 



^ 



-m.±-0- 



^^^i 



^- 



-g—g- 



m 



-^is- 



Repeat three times. 



1 



'.See p. S(5. 



210 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



Tlie syllables are: 

(A) yo we do na he'^ 

(B) M go ya na he- 



7. Ba't6 ctl. Horse Dance.' 

In honor of the horse, ba' te, literally 'toe one,' the Yuchi perform a pro- 
pitiatory dance. The dancers trot around behind the leader who accompanies 
his song with a hand rattle. The drum is also beaten in time. At the end of 
the song they grunt like stallions. 
(A) M. M. J = 84. 




V ^ 

Repeat three times. 



The burden of this song is : 

(A) he yo li he, ya nl na, yo ha le na. 

(B) yo we he, we yo we he^ e. 

(C) yo wa ll, ha ya ll na, yd, U na. 



'A dot after a vowel indicates extreme length. 

>In p 127 the Creek Horse Dance is given under the heacUng of a Yuchi dance. 
While many Creek songs are used at the Yuchi ceremonies, it will be seen from the above 
version, which was uiiaVailable at the time of writing, that there is considerable difference 
bet week some of the Creek and Yuchi songs having the same name. 



CREEK MEDICINE SONGS AND FORMULAS 



The following medicine songs and formulas as well as the dance songs were 
obtained in 1905 by purchase from Kabi'tclmala, whose fame as a shaman or 
doctor was no less than his renown as dance leader and town chief. 

A considerable proportion of the -text material, and the information con- 
cerning the whole, has already been published in a general paper dealing with 
the ethnology of the Taskigi Creeks.' Since, however, it has become possible to 
have the music for the entire set of songs, transcribed, besides the texts of twice 
as many as at first, it seems advisable for the sake of completeness to incor- 
porate in this paper the entire collection, including the data already presented 
together with the new information resulting from a more thorough acquaintance 
with the field. 

As to the theory of disease we find that the Creeks hold ideas similar at 
bottom to those of most Aiiierican tribes. Pain or disease, niikkl, is believed to 
be caused by some noxious matter or some disturbing influence transferred into 
the body of the sufferer by some animal, spirit or malevolent person. Animals 
are thought to be at times offended at the actions of people, for which they 
inflict disease. Besides, there are various classes of supernatural ci'eatures, 
little people, sprites, monsters of water and earth, which are evilly disposed 
toward human beings, for which reason they in turn inflict disease. And lastly 
there are people who to revenge themselves, or, for personal reasons, are either 
able by themselves to inflict disease by magic means or, lacking the power, hire 
a shaman to do it for them. According to the origin myth (seep. 237) when the 
various animals and creatures, during the mj'thical age, arbitrarily introduced 
disease upon the earth they incidentally agreed to make cures or medicines, 
consisting of song fonnulas which appeal to the animal or spirit causers and 
herb medicines or magic objects which are steeped in a decoction and drunk 
l)y the sufferer to act through sympathetic magic objectively upon the disease. 
The causes embrace, as will be seen from the myth, a variety of creatures and 
objects: panther, wildcat, cat, bear, hog, raccoon, opossum, sky hog (a sidereal 
being ?), horse, beaver, otter, dog, deer, yearling deer, bird, owl, turkey, buz- 
zard, fish, snakes in general, water moccasin, water wolf (evidently some reptile) 
and rattle snake. Other more general animal causes are small water creatures, 
seashore creatures, water creatures, and game animals, while besides there are, 

'See M.A.A.A. pp. 121-133. 

(211) 



212 ANTHROPOLOGICAL PUB. UXIV. OF PA. MUSEUM, VOL. I. 

rainbow, spirits, living people, what is inside of you, fire, and various kinds of 
dirt or earth.^ The knowledge of the proper songs and the herbs or magic 
objects to go with them, as well as the power to diagnose the causes of disorder, 
was acquired by certain peo^sle in mythical times who have since transferred 
their pharmacopeia and secrets fi'om generation to generation down to the 
present day. The practice of medicine with its secrets is now an activity 
retained in tlie possession of persons who have either actually invented out- 
right their own songs, herb cures and treatments, or those who have inherited or 
bought the profession from another. There do not seem to be any particular 
religious restraints in connection with the ordinary medicine practice so far as 
I have learned, nor were there any medicine man's societies or organizations. 
Sometimes a man, having learned a few cures and operated them with success 
a few times, may decide to improve his opportunities, learn more and become a 
practitioner. Frona some well known shaman he may buy or learn some for- 
mulas and botanic secrets, which, together with a few inventions of his own, 
may earn him a fair reputation and establish him as a shaman, ali'kdja, or 
owala,^ or doctor in his town. Such in general was the career of Kabi'tciniiila. 

People when afflicted with sickness, unless they are able to treat themselves 
with some simples wdiich are commonly known amongst them, pay a visit to 
some shaman to have the cause ascertained and removed. The shaman's 
method of procedure is, in general, about as follows: By secret means and a 
little well directed c^uestioning he will determine what the trouble is and its 
nature, judging from the sufferer's symptoms. An exceptionally clever doctor 
can diagnose fi-om personal effects, a shirt, hair and the lilce. 'WHien the com- 
plaint is understood he knows what creature is responsible. As will be seen from 
an inspection of the list of symptoms and assigned causes, the method of diag- 
nosis seems to be backward, tracing the trouble to some creature with whom 
the same symptoms are characteristic. For instance, indigestion is attributed 
to the hog, who is a notorious glutton; sleeplessness is attributed to the raccoon 
whose habit is to roam at night, whose eyes are deeply ringed from lack of 
sleep; colic and flatulency are attributed to the horse, who is naturally prone 
to the same; rheumatism in one fonn is blamed upon fawns or yearling deer 
whose gait indicates stiffness of the joints; while diarrhea is traced to birds 
and constipation to the beaver, from the quality of their respective excrements. 
In not all of the cases, however, is the line of connection clear. Accordingly 
the shaman, having ascertained the cause, and knowing what medicinal agents 
go with the fornuda to chann away the trouble, proceeds to gather his herbs and 
steep them in a pot of water. The interesting notion of sympathetic influence 

'This has particular reference to the earth dug out of graves, which is thought to 
convey rheumatism through contact. Different colored clays and soils are also meant. 
'Also hflis hdya, "medicine maker." 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 213 

runs all through these as well. We find, for instance, that among the herbs 
used ill the decoctions, most of them, either in form or in name, are connected 
like fetishes with the cause. So for indigestion caused by the hog, a plant 
called 'hog ear' is used; for rheumatism caused by the deer, 'deer potato' is 
used; for headache caused by the sun, sunflower is used; for diarrhea caused 
by birds, a biixl's nest is used, and so on. While the connection between many 
of the vegetable substances and the causes, in name at least, is quite apparent, 
there are nevertheless some in which it is quite obscure, and it is among these 
latter that we meet with some herbs which are medicinally effective. The 




Fig. 3. — Shaman's Medicine Pot. 

interesting problem of origin here presents itself, in discussion of which it seems 
plausible that with the accidental discovery of the beneficial effects of certain 
herbs, like wild cherry bark for colds, red willow for a physic, and ginseng for a 
narcotic, the beginnings of pharmaceutics had developed from the use of what 
were originally mere fetishes. I may, indeed, be underrating the actual virtues 
of some of these quasi-scientific herb remedies. Some of them are known and 
employed for similar troubles not only by distant Indian tribes but by white 
countrj' folk who have evidently acquired them from the Indians in colonial 
times. In the medicine practices of neighboring southern tribes as well as 
Cherokee," Yuchi,^ Chickasaw, and undoubtedly others when we know more 

'Cf. Mooney, "Sacred Formulas of the Cherokee," Seventh Annual Rep. Bur. Amei. 
Ethnology (1885-6). This material, offering the only source so far available in comparing 
southern practices, is on the whole fundamentally similar to the Creek. The Cherokee 
medicine origin myth {ibid-, p. 319) is distantly similar. The formulas, however, are not 
sung. A discussion of the medicinal properties of the herbs concerned {ibid-, p. 328) is 
given by Mooney. 

^See p. 132. With the above, the Osages, Kansas and neighboring southern plains 
tribes (Cf. "Manners and Customs of Several Indian Tribes," etc. J. D. Hunter, Phila., 1823, 
pp. 368-402), and theOjibways (Cf. The "Midewiwin," etc.of theOjibway, W. J. Hoffman, 
Seventh Aimual Rep. Bur. Amer. Ethnology, 1885-6) present certain similarities in the 
use of herbs. 



214 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

about them, the use of herbs is found associated with the idea that ' like cures 
like, ' under various guises with different details. 

The shaman then, after collecting his medicines and steeping them in a 
pot of water (Fig. 3), produces his blow-pipe (Fig. 4), a section of cane about 
thirty inches in length, and, in the secrecj^ of his private quarters, lest someone 
else learn the procedure, sings a magic song or repeats a formula over the 
draught, between verses giving the decoction a blowing through the pipe to 
make it bubble up with air. The viitue of the song is thought to be trans- 
ferred into the medicine, hili'swa, which is then ready to be administered to the 
patient internally and sometimes externally too. According to Kabi'tcimala 
the shaman's purjjose is to throw the disease out of the sufferer into some 
animal,but not the one that causes it, lest he send it back with doubled severity. 
In regard to the words of the songs little in detail can be said. In most cases 
they express disconnected ideas, sometimes descriptive of the animal cause, 
sometimes as though the shaman were describing its movements which he is 
watching from a distance. Frequently the song is more of a petition, with a 



Fig. 4.— Shaman's Blowing Tube. 

reverential tone, acting upon the sympathies of the causing agent, while again 
it may contam slurs and ridicule. A most important feature, however, is the 
cardinal symbolism which is commonly repeated in conjunction with the name 
of the animal cause. The number four probably tlerived from this source 
dominates in Creek ritual. North, Kasapo'fa, 'where it is cold,' is black; 
South, nigatofa, 'where it burns (?),' is red; East, hasosa, 'sunrise,' is white, 
and West, hasakalatka, 'sun sinks into the water, ' is yellow. 

Shamans expect payment when their cures have been successful, the 
amount generally depending upon the generosity of their patients. They are 
said to be hired sometimes to cause disease in otliers, not infrequently having 
been known to do so of their own accord for personal reasons. When accused 
of using their powers in this direction it was customary fonnerly to put them 
to death. As with other ti'il^es, Creek shamans often held conte.sts to test tlieir 
powers with rivals. Love and hunting songs as well as chamis are, nowadays 
as m the past, dealt m by them. 

Tlie jirofessional paraphernalia of the Creek medicine man consisted simply 
of potter}' vessels, a cane blow-pipe or two and quantities of dried roots, leaves, 
bark, twigs and the like. These objects, however, were not preserved with any 
particular reverence, the whole shamanistic practice among the Taskigi lacking 
the highly colored ceremonial side so strong among the plains tribes. 



F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS. 215 

Regarding the texts themselves it should be noted that the grammatical 
forms are in many places mutilated by assimilation, dissimilation, elision, change 
of accent and vowel length, to accommodate the words to the music, or through 
conventionality in utterance. 

The texts in a good many instances were by no means clear to the informant 
himself, evidently having suffered through considerable 'shaman's license,' 
in consequence of which they, and the translations, are given as recorded with- 
out any attempt to harmonize them. 

The following collection of songs represents a portion of the propertj' of one 
shaman and probably contains much that is purely individual matter. 

1. Sukha ale'dja. Hog the Cause. 

Indigestion is caused by the hog, siikha. As a medicine to be drunk by 
the patient the whole plant of siikha hatsko, 'hog ear' (Hierocicum scouleri), is 
steeped in the vessel of water. The magic blowing is accompanied by the 
following song. In this formula we have an excellent example of the association 
of three ideas accortling to Creek philosophy, the hog's glutton}', human indi- 
gestion, and the curative property of some plant having a name connected with 
that of the hog. Neither the text nor the translation lay claun to correctness 
throughout owing to the rapiility of utterance and indistinctness. 

M. M. J = 138. 



^^^^^i^^l 







Repeat three times. 



DjI'mundahalfnoml' (repeated to the sixth bar, then followed by 

the rest.) 
your superiority, as it were. 

Siikha djull. 
hog old male. 



216 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



ya wakla dl'. 
here he was lying. 

I'laga dji'nomi'. 
stretched out, we seem to see him. 

dji howehi'. 
your calling (grunting). 

hi'li hi'djinomi'. 
foot (we) seem to see him. 

i'lada'H dji'nomi'. 
hungry, he roams about, (we) seem to see him. 

alaga dji'nomi'. 
stretched out, (we) seem to see him. 

nanuckago hayandomi'. 
evil conjuring he seems to be making. 

djimimdahalinomi' (repeated in the last two bars) 
your superiority, as it were. 
A°' A"' A"' imitating hogs grunting at the end. 

Other verses of this formula are the same in all but the first invocatory 
words, having in the second, instead of sukha djfi'll, 'hog okl male,' as in the verse 
given above, adj.u'll lani, 'old male yellow,' in the third adju'li lasti, 'old 
male black,' in the fourth adju'li tca'di 'old male red,' and in the last adju'li 
hatki, 'old male white. ' 



2. Itca'swale'dja. Beaver the Cause. 

The beaver, itca'swa, is considered to be the cause of constipation and 
soreness of the bowels. The character of the beaver's excrement is thought 
to be an evidence that he suffers with the complaint which at times he inflicts 
upon people. A decoction of the roots of akhatka, 'in the water white,' identi- 
fied as sycamore (Platanus occidentalis), and akdjilalaska, said to be red birch 
(Betula nigra) is used for medicine. The songs employed to charge the medicine 
are four in number, each addressed to a different animal though related, in the 
native classification, to the beaver. This formula is cjuite a long, though a 
monotonous one, as there are four verses to each song. 
M. M. J = 188. 





9 — I — j 1 — I 1 l-K-i 1 — I 1 l-P-i 1 — I P — ["T-i — 1 1 — 



te^Nt 



— • — • 

•-I 1 0—0- 

I 1 1 



.-t- 



■BEEEEEt 



i 



I 



i 



^ 



± h: 



it=ti 



— -— , 1 



fifnt 



•— F — — • — • — !--•-• — • — • — F-»-^ — I — • — F-» I — ' — • — ^H 

■I — F-s-i — I F- — I — I — I 1 — h-h- 1 — I 1 1—. — I 1 M 



^ 



F. G. SPECK — CREEK AXD YUCHI CEREMONIAL SONGS. 217 

The words of the verse are: 

la'gadilii' onabaha' (repeated a number of times.) 
he was sitting above, 
wahiila ^aha'. 
south, 
dja'di ^aha'. 

red. 
itca'swa ^aha'. 
beaver. 

ili'dja ^aha'. 
he kills, 
ilia ^aha'. 
he dies. 
The first song consists of the above repeated four times, the second, third 
and fourth verses indicating the cardinal points and their symbolism. So the 
rest of the verses have, in their second and third lines, respectively 
hasakaldtka la'nl ^aha', (the next) 

west yellow. 

honl'la' ^aha' la'sti ^aha', (and the last) 
north black. 

haso'sa ^aha' hatki ^aha'. 
east white. 

Each of the three succeeiling songs are the same as the above in all except 
the animal invoked in the fourth line. Where the above has itca'swa, beaver, 
the second has osa'nna, 'otter,' the third has oksiitko, muskrat, and the last 
has sagf pa, ermine or stoat. 

3. Tcitto ale'dja. Snake the Cause. 

Aching teeth and gums and swollen cheeks are caused by ahalasakada, 
the water moccasin (Ancistrodon piscivorus). The analogy between the com- 
plaint and the cause, in the swollen poison glands and distended cheeks of this 
snake, is a close and interesting one. In the objects constituting the medicine 
too, there is a close imaginary connection with the trouble-producing snake. 
These area handful of ido ligwi, 'wood rotten,' and dried leaves, fdiwissi, 'tree 
hair, ' put in water, blown into, and given to the patient to druik. The ideas 
of sj-mpathetic magic operate through the resemblance between the snake's 
form and the tree twigs, its color and the dried leaves. 

The charm formula begins with a spoken part, as follows : 
nmoxkululwa' di. 
in the path he was coiled up. 

domahasokiilulut dJ. 
on a long stick he was coiled up (?). 

wiyofobakolulut di. 
on the edge of the water he was coiled up (?) 

'X represents a soft palatal spirant. 



218 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



diliaksamoxkululut ogadl. 
around a tree branch he was coiled, it was said. 

dihaugisokoluhit di. 
on a hollow tree he was coiled up. 

sifsifkit OS. 
he hisses continuously. 

yilaga hagadi'. 
lying he made a noise. 

djadaphades. 
stone is in the grass. 

hlyoxpidadagit. 
here coiled up. 

yilaga hagadi' 
lying he made a noise. 

domahasin. 
on a long stick. 

lyoxpidada'git. 
here coiled up. 

yilaga' hagadi'. 
lying he made a noise. 

nenahdssin. 
in the sunny path. 

lyoxpidada'gade. 
here coiled up. 

sif sk ! 
hiss! 
This is concluded with the subjoined song: 



m 



M. M. J =r 104. 



%E=^Z^JE|E'^-:g 



IMZZTj 



2=133-^4=^ 



m 



■^ 



-•-r- 



^lEE^^^iEEEt 



-•— *- 



1^ 






:t- 



iirjn: 






.^^ ^—t-'- 



§ 



M. M. J =104. 

-• — 4r- 



Hcpeal four times. 



Se: 



itit*- 






:i«=: 



-*—»»* 



:=g3giC:ff33iji= f p <-* 



-*-• 



-*-*- 



!a- 



ZMZJLJ mzi 



Repeat four limes. 



s 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



219 



The words are yilagil hagadi, as above, repeated over and over again, 
occasionally varied with iyoxkololo hdgadi/ 'here coiled he made a noise.' 
Prolonged hissing ends the chann. 



4. Fiiswale'dja. 



Bird the Cause. 



Birds, fuswa, in general, cause nausea, gripes and diarrhea. The shaman 
prepares a medicine by steeping some kind of a bial's nest, fus imbognaga, 
in water and blowing into it through his tube, between repetitions of the follow- 
ing song. The patient then has to drink the medicine as usual. 



M. M. J = 126. 






(=2-' -••-#- . -0- 



~l 1 1 1 H 5? — I 



it=z^ 




-•-«—*—•—» 



h--h— '^- 






rt=— ^^t=E*=gi 



-w- ^ , — ^v 

-I W- -0- -0- -0- 

-m — I 1 1 1 — 



^pi_^_ 



•— *- 



C3Z: — 0—0—0- 

rifk- ' 1 '-r 



=t=t= 



11 



i^=:t:=l 



0—0- 



-I 1 1- 51 ^- 




0-0-0—0-0-0^0-0-0 ^ 0—0— 0^0— .0-0 «_•—•_«. 



II'. 



-»- - -0- M ^ ^ 

.t_«-.J 0.- 0- -0- 

E^=StE££f 



t — V- 



n-0-0- 



-l-r-=J- 



-V-J 






liepeal twice. 



The words of the charm are: 

hagidosi'. 
they chatter. 

hagiddlitogi hagi'. 
they chatter and flutter about. 

hagidosi' (repeated a number of times), 
thev chatter 



220 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



iclA'lwa la'git iiyam6. 
their settlement is here, 
fulotkit dlidogl. 
gathering together they make a fluttering noise, 
djil' djil djil' djil. 
martin martin, 
hagidosl' hdgidosl'. 
they chatter they chatter. 

At the end of the song the singer imitates the blue jay, tdsi, with tins tiJ's 
in a deep voice. A variation occurs in the second repetition in tlie shape of 
TdalegoniA'lga. 
grouped together all. 
isoslye dalegosin. 
[in thej ashes withering (?) 



5. Iganiikkl yahai'glda.^ Headache Song. 

The deer, i'djo, are believed to cause headache. One of the most important 
herbs in the Creek phannacopeia, namely mikoani'dja, 'chief physic' (a species 
of Salix), possibly red willow, is used in the cure. The root is brewed to the 
accompaniment of the following song. The shaman repeats the song four times, 
between each rendering the concoction is given a good blowing through the 
medicine pipe. The sufferer, then, has to drink quantities of the medicine and 
have some blown over his head by the shaman. This draught acts both as an 
emetic and physic, being very commonly used as such by the Creeks, Chickasaw 
and Yuchi, and no doubt other southern tribes, in their annual harvest cere- 
mony.' This song embodies an analogy between a pain in the head and con- 
gestion as of clouds in the sky. The shaman invokes the oppressing clouds, of 
various colors according to the cardinal symbolism, ordering them to scatter. 



M. M. J = 126- 




Repeat four times. 



'Literally. 'Head sick, to sing. ' 

'Cf. p. 116, and M.A.A.A. p. 137, and Notes on Chickasaw Ethnology and Folk Lore, 
F. G. Speck, .Journal of American Folk-Lore, vol. xx, 1907. 



F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS. 



221 



The words are: 




hj'awahiye' (re 


peatec 


scatter. 






aholodje 


lani 


des 


clouds 


yellow 


these 


holodje 


djadi 


des 


clouds 


red 


these 


holodje 


lasti 


des 


clouds 


black 


these 


holodje 


hatki 


des 


clouds 


white 


these 



(repeated four tijnes before, and several times after, each 

of the following lines.) 
awahin. 
scatter, 
awahin. 
scatter, 
awahin. 
scatter, 
awahin. 
scatter. 

Were we to substitute in imagination the cardinal directions invoked by 
the colors we should have, in the order given above, west, south, north and east. 



6. Hassi ale'dja. 



Sun the Cause. 



This is also a headache song where the cause of the trouble is believed to be 
the sun, hdssi. The blossoms of hassi yaha'gi, ' looks toward the sun,' or 'sun 
likeness,' Sunflower (Helianthus annuus ?), are the ingredients of the medicine 
prepared by the shaman. The following song is sung four times, between each 
repetition the medicine is given a violent blowing. 
M. M. J =104. 



'-^^' 



m^^^ 



Ec^tEtE 



:=:t: 



=t=g==L 



•:d2i 



^-V 



9 — F- 






-•— •— F£i5— ' — 3— f— I— 



o 

^•T^ 



—V— 



bti 



-»--»-0~ 



I 



Hepeat four limes. 

The words are: 

slwa' (i-epeated twelve times before, and sLx times after each of the 
scatter. following lines.) 

ni'tta hassi. 
day sun. 
niii hassi. 
night sun. 
kolaslobotskl. 
stars little. 
The shaman invokes the sim, moon (referred to as night sun) and the stars 
to dispel the trouble. 



222 



ANTHROPOLOGICAL PUB. UNIV. OK PA. MUSEUM, VOL. I. 



7. I'djo ale'dja. 



Deer the Cause. 



Swelling boils on the body and limbs are believed to be caused by the deer, 
i'djo. The shaman prepares a mixture of atcina, cedar leaves (Chamae- 
cyparis thyoides), and i'djo maha, 'deer potato' (Licinaria scariosa). The root 
of the latter is a bulb and both this and the leaves are used. I obtained several 
songs for this trouble, the first two being quite a little alike. 
M. M. J = 132. 



E=t==^^=t==t=^L^t=^ 




mm 



01 



The whole repeat eight times. 

The words of this song are: 

ha'finonogi'i hidjinoml'I (repeated throughout the song.) 

his feet he patters, [we] see him, as it were. 



Deer the C.vuse. 



M. M. J = 112, 




^m 



4 1 1 1 1 '-l- 1 1 1 1 1 1-1 1 1 



:^ 



|S r-l"'^ 



G^=^= 



-0-0-0-0-0- 



Mepeat eight times. 

In this version the words are: 

ha'finonogi'i hidjinomi'i (repeated to the seventh bar twice, then 
his feet he patters [we] see him, as it were. followed bj' the rest). 

djo mi'ko lilnudji. 

deer chief yellow little. 

hidjodjides yawakladi. 
[we] see him, here he was lying. 

hi'ya a'sasd-lgosan. 
here we run him. 

ya hwi'Hdaliii omasdje'. 
here he stood [and] wandered about, so it seems, 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



223 



There are four more verses to this song which are the same as the above 
in all but the first line of the formula in which mention is made of tiie deer. 
Wliere djo mi'ko lanudji stands in the first verse, the second has I'djo adju'li, 
'oKl male deer,' the third has i'djo djofA'gAna, 'yearling deer (in his virile 
perioil),' the fourth has i'djo kok'swa,' 'deer mother,' and the fifth, i'diudji 
'little deer.' 

9- Deer the Cause. 

This is another quite different song which is also used in removing some 
trouble brought on by the deer. Unfortunately, however, no further informa- 
tion can be ffiven with it. 

(A) M. M. j^ = 168. 






H— j 1 1- 



:*T- 



5=i: 






Ja-zSi:?5- 



il=:--3^-^^: 



:i**^^= 



^•-f-*-r 



-^ — U — y^ 



Repeat four times. 



Cry. 



g^^EN^IIf^^g 






•«-i__*. 



■•-4 



■S—U—^'- 



-tiT 



"■ ""^-^k^S.- 



ipgl^iii^i^ 



Repeat four times. 



(D) 









■^ — ^— 1»'— b*— 



V— b*— Fv^ 



-•- -•- -•- -•- -m- -»■ 

■I 1 1- 



-^—v- 



■v—y—^- 






=i=t;- 






-0- -0-. 



Yell. 



Repeat three times. 






rir-,=rrf5r=-_-_rg 



It 



rk 



(E) 












'Thi.s is an archaic word, the modem being itski. 



Repeat twice. 



224 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



The meaningless syllables of this song are: 

(A) ya li he ho ya^' li he ye he he he (repeated four times.) 

(B) ya' ^o ha (repeated four times.) 

(C) ya na ni ho ^o ho. 

(D) ilia'- hi'- ohoi'- 

ohoS' hoi' oho^' hoi (repeated a number of times.) 

(alternating with) 

iha'" he'- ohoi'' 

he yo'- he (repeated a number of times.) 

(E) ya na le ha ha no he ya (repeat twice.) 

10. I'djo lowagi ale'dja. Ye.\rling Deer the Cause. 

Swollen joints and stiff muscles, suggestive of rheumatism, are caused by 
yearling deer, idjo lowagi, literally 'deer tender, or nimble,' or i'djudji, 'little 
deer, ' referring to yearlmgs. The notion of rheumatism is evidently associated 
with the stiff gait of the fawns. As a cure the shaman employs atcina, cedar 
leaves which are steeped in water and blown into between the six verses of the 
following song. 



Jl. M. 



120. 




BU -,•■— •-•— -T — • 1 1 1 1 1 1 i 1 < 1 1 1 1 1 1 — •-—•-•• 

-^^--^*-™— *^^^^ ^=»= ^^^^ * -^L::^^-^ 



— 1 — I — I 1 — I — I — I — 1 — 1 — I 1 1 — I — -ft 

■A-»-0 \-0-0-0 \-0-0 1-*-#-#— ^l-l 

• i , « ^" 



Repeat six times. 



The words are: 

idjodjiya (repeat six times.) 

little deer. 

inadades. 
the game animals. 

lowagofAn. 
when thej' are tender. 

tcafi'knosld. 

being healthy. 

ali'bofAn. 
when they wander about. 

idjodjiya (repeat six times.) 
little deer. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



225 



The other five verses of this song are the same as the above except for the 
first two words. Accordingly only the parts that are different will be given. 
idjodjides (repeat six times.) 
the little deer, 
ilaksides. 
his hoofs. 

(repeat the last four lines of preceding verse.) 
Idjodjides (repeat six times.) 
the little deer. 

isiiksodes. 
his loins, 
(repeat as above.) 
Tlie next three verses are the same as the preceding except in the second 
line where different parts of the fawn are mentioned, in the following order 
ilafAni, 'his back bone,' inadjides, 'his vital parts,' i'gades, 'his head.' The 
song then ends with the exclamations dogo'ldogo'! idjo'djiya', 'little deer,' 
and a long cry, I°wa° ! imitating the cry of the fawm. 



11. NokusI ale'dja. Bear the Cause. 

The bear, nokusi, is thought to cause nausea and diarrhea. The plant 
used by the shaman is one called wilana, 'in the water yellow '(Chenopodium 
anthehninticum.) The whole plant is steeped in water and the decoction given 
to the patient. 

(A) M. M. J = 184. 



% 



=t 



:t: 



=!i=t=ti 



-t 



J — V- 



--\=t=.t 



znzn 



s=t-^ 



_•_, 



S^iS 



tf^ — 



zcz^t 



■» — • — • — • — •- 



^^-^^1— — t/- 







/J «T ! »_ ^ 

F-5r-«tt — • • • — • — F — p — • • — • • — F • — • • — • — •— I — -J 



-rp-lrr-j*— *—•—•— ^- 



fe*--^ 



,t=trtrt: 



■I — — — I — I — ^ — I — 1^ • 



• Repeat twice. 



226 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



The meaningless syllables of this song down to (B) are hiya no, ho ga ni'. 
At (B) words are introduced which, in part, are 
idalegoniA'lga. 

grouped together all. 
isosiye dalegosin. 

[in the] ashes withering (?) 
The last few bars are sung to the meaningless syllables as above, and the 
whole song ends with a deep ho' imitating a bear. 

12. Poyafi'kdja ale'dja. Spirit the Cause. 

The spirits of dead people, poyafi'kdja, literally 'our spirits,' referring to 
dead ancestors, who have not reached the home of the spirits, are thouglit to 
wander about the earth inflicting fever in its various fonns. The medicines 
steeped by the shaman for this trouble were given as kofA'tska, peppermint 
(Mentha (sp.?) and ahalbakstce', 'potato very straight (?),' said to be Life- 
everlasting (Gnaphalium (sp.?)). There are ten verses to this song, between 
each of which the medicine is given a blowing. The song invokes the trouble- 
some spirit, mentioning his defunct relatives with the idea of obtaining his 
mercy in some wav through his affection for them. 
(A) M. M. J = 102. 




Repeal Cwicc. 

The wording is as follows: The portion (A) is sung to dji'djiweaege', with- 
out specified meaning, repeated up to the last bar. The last bar of (A) 
differs with eveiy verse, a different relative receiving mention in each. In 
their given order tlie tenns are: 
djitski i'ladl. 
yovir mother is dead. 

djwo'ban T'ladi. 
your child is dead. 

dji'lkl i'ladl. 
your father is dead. 

djilaha i'ladl. 
voiir elder brother (or sister) is dead. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



227 



djidjosi iladl. 
your younger brother (or sister) is dead. 

djidjihva i'ladi. 
your clan brother (or sister) is dead 

djitskudji I'ladl. 
your mother's sister (little mother) is dead. 

djibawa i'ladi. ' 
your mother's brother is dead. 

djibo'si i'ladi. 
your grandmother is dead. 

djibo'dja i'ladi. 
your grandfather is dead. 
The last portion of the song (B) which is sung only twice is worded, ' 

talokilins. 
withered up. 

djila'fAni. 
your baok bone. 

wogodjwei'djayandom i. 
made to crumble, it seems to be. 

djiga'fAni. 
your head bone (skull). 

13. Idle ale'dja. Fish the Cause. 

The various kinds of fish, hilo, cause sleeplessness, through some obscure 
train of association in the native mind. The plant used in curing the trouble is 
hilish.ltki, 'medicine white,' or ginseng (Panax quinquefolium), a well known 
narcotic. A decoction of the root is steeped and a portion of the root is some- 
times chewed. A forked piece of root is preferred for medicine, often going 
under the designation of 'man root', from its resemblance to the human body 
and legs. 



(A) M. M 







Repeat four times. 




190. 



i^ — r-- 



^noop. 



t=^r=t=r=t=fr=fzzi|^=r^t=fz=r==[| 



Repeal ten times. 



228 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



Tlie words of the first part (A), consisting mostl}^ of meaningless syllables, 
are: 

lani oho. 
yellow, 
helegwadoha. 
hedonihe. 
There are three other verses worded the same except in the first line wliere 
tcadi, 'red/ Idsti, 'black,' and hatki, ' white, ' are substituted for lani. The 
wording of the second part (B) is lacking. 



14. Hiludja isfdga. Turtle Hunting Medicine. 

A cold in the lungs, accompanied by coughing and, rather strangely, by 
sores on the limbs and neck as described by Kabitclmala, is attributed to the 
turtle, hiludja. Wliat the sympathetic connection is between this creature and 
a cold, is very obscure. A handful of tofA'mbi, wild cherry bark, is boiled and 
sweetened as a medicine. The term hiludja isf^ga, literally 'turtle means of 
hunting,' used as the name of this cure, refers to the medicine's function in 
liunting out and finding the turtle to induce him to remove the trouble. The 
song is rendered four times, with blowing into the medicine during the intervals. 

(A) M. M. J = 88. 






"ti 



-*_*- 



'Jlmin 



-•— *- 






^^- 



m^ 



-^— *—>— •— I ^-^& ^ 4^ph"-^ ^y-=^ —p*^^';^^—*—F=7»^^^ 









p^^5rr=g=p=i= 








g — I — tI— ^ ^ — I — — I ^^^^~ r~f i s l~n 



-«- 



F. G. SPECK CREEK AXD YUCHI CEREMONIAL SONGS. 229 

, (B) M. M. J= 132. 

' Whoop. ' " " ^ 



It 



■• • rr-f— • — •-S^ft*— ?^-r^f^»-» 

■• — J^ ^ ^ 







Repeat four times. 

The syllables of the portion labelled (A) are : 

yd ni ya ha'. At (B) the turtle is invoked with the four cardinal 

colors, with the words as follows: 
hiliidja lani'. 
turtle yellow, 
hiludja hatkl'. 
turtle white, 
hiludja last!', 
turtle black, 
hiludja tcadi'. 
turtle red. 
The song ends with numerous repetitions of the meaningless syllables as 
in (A). 

15. Tcitto hiliswa isfaga. Snake Medicine Hunting. 

Snakes, tcitto (singular), cause swellings on the face and limbs. The 
leaves and twigs of cedar, atcina, are steeped and given the patient to drink. 
The song used to charm the decoction is as follows: 
(A) M. M. J = 88. 

> f^ ^ -, ^__ -- 




B^^f^^^^^o^^. 



feg 






g^ pg^^ E fe=g 



Repeat twice. 



230 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1. 



%^==- 



.^^ 



itagizz^^: 



;— > — I — • — \±-»— 



h/tr^-^ 1 * — • • — fl — •— I h h fe> h b h h h — Fh — ^ — ^ — H 

F^-*^— ::S^ — \j — h— -l—^J — ^ — i^H ^^ -^^ — <^—\^v — i^ — \/—\V — H 



Repeat four times. 

The words of the first part (A) are: 
ld.nI oh6. 
yellow, 
tcddl oho. 
red. 

Idstl oho. 
black. 

hdtki oho. 
white. 
These wortls are repeated in rotation until the eighth bar where the cry 
ha he' hya' hya is given. 

The second part of the song (B) is rather different from the first, the words 
being as follows: 

lani we h6 (twice.) 
yellow, 
yabidasim. 
creeps (?) 
lanagi he. 
yellow spotted, 
tcadi we h6 (twice.) 

red. 
yabidasim. 
creeps (?) 
tcadagi h6. 
red .spotted. 
Msti we h6 (twice.; 
black. 

ydbidasim. 
creeps (?) 
lasladi he. 
black spotted, 
hdtkl we he (twice.) 
white. 

ydbidasim. 
creeps (?) 
hdthagi h6. 
white spotted. 
The last bar has'the cry ha he, hya hya, ending the song. 



F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 



231 



16. Tcitto siika. 



All the Snakes. 



The following formula is not accompanied by complete infomiation, as 
will be seen. Kabitcimdla referred to an old story regarding the monster 
described, but was only concerned with the practical curative aspect of the 
matter, in consequence of which merely the song, the herbs and the scant infor- 
mation given here were obtainable. 

Swellings in the legs, evidently of a rheumatic nature, producing serious 
lameness, are caused by a monster snake thought to be between twenty and 
thirty feet in length. The creature is armed with horns on its head and dwells 
or dwelt in a deep pool of water. Such monsters are quite common in the 
myths of the Creeks and other southeastern tribes.' The herbs steeped to 
make the medicine are the roots of akhatka, ' in water white,' sycamore; akdji- 
lalaska, birch; akwa'na, willow. Added to the above are: I'do ligwi, 'wood 
rotten', meaning ordinary dead sticks of a finger's thickness, the form of which 
resembles snakes and has, in consequence, a sympathetic influence with them. 

This fonnula begins with quite a long and verj- rapidly spoken part, which, 
unfortunately, was not taken down at the time. Tlie only words of this part 
audible on the phonograph is the snatch akali tcadi, '(?) red, ' repeated a number 
of times. 



(A) M.M, 




Repeal four times. 



' This is probably the same as the Tie-Snake mentioned in Creek mj-thology. Cf. M.A. 
A.A., p. 156, "Rabbit Outwits Tie-Snake." 



232 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



The first part of this song (A) is sung very rapidly to words repeated over 
aaid over again. At (B) the meaningless syllables ho ya' nl we' are used. 

17. Wlyogof yaha ale'dja. 

In the Water, Wolf the Cause. 

Nausea, gripes and dysentery are caused by a creature called wlyogof 
yaha, ' in the water, wolf. ' Just what this animal is could not be explained, 
nor could I ascertain whether it was a mythical monster or an animal, reptile 
or fish in existence to-day.^ 

Tlie roots of wi'su, sassafras (Sassafras sassafras) are steeped as a medicine. 
Tlie following song is repeated a number of times, while between each rendering 
the medicine is given a violent blowing through the shaman's tube. 



: 144. EnergeUko. 







-•:__!• — mz 



^il 



Repeat Jive times. 

The first ten bars (A) are sung to the syllables dandayi', which were said 
to be without meaning, yet it is significant to notice that the last two syllables, 
dayi, denote pain. 

The second part (B) is sung to the words: 
wiyogo'fa. 
in the water 
yaha lani. 
wolf yellow 
Mgwilcigagadi 
they are two big ones ("!)' 



'It might be suggested that the Mud Puppy (Amblystoma (Sp. ?) ) may be meant by 
wlyogof yaha, if we modify the name sHghtly to wiyogolki (muddy water) yaha (wolf). 

translations such as these were offered by Kabftcim^la when the texts were being 
recorded. As they were almost incapable of analysis and uninteUigible to other inter- 
preters, evidently the informant himself was the only one who could understand them. 



F. G. SPECK — CREEK AND TUCHI CEREMONIAL SONGS. 233 

lll^ ilabdtkin. 
(?) on the shore 

lii^ isoho'seye. ' 

coming from the ashes 
yoso'fa hi'ladi. 
in ashes he di d. 
The song then ends with i'ladl, wo' wo' oho'!, 'he died, wo' wo' oho'! 
(imitating feigned sad wailing). 

Tlie following are a few medicinal formulas similar in every respect to the 
preceding with the exception, however, that instead of being sung, they are 
repeated in a monotonous sing-song tone. 

18. Mkko ale'dja, Horse the Cause. 

Swelling of the abdomen and numbness are caused by the horse, lakko. 
Tlie trouble is evidently akin to colic, the sympathetic relations being quite 
obvious. A drink is made of four corn cobs, talabi, about four inches long, 
soaked in water. Hie medicine is given a good blowing between the repetitions 
of this formula. The fonnula is pronounced rapidly in a rhythmic sing-song 
tone. 

hi dl' (repeated four times). 

hi dl' " 

hi dl' 

hi dl' 

hi di' 
vhite 

wdkkoi'dja di' " 

he lay down 

tim ti'dja di' " 

he made a great din 
The fonnula ends with two or three whinnies in imitation of a horse when 
he rolls over on his back and kicks his heels in the air. 

19. Wotko ale'dja. Raccoon the Cause. 

Sleeplessness and sadness are caused by the raccoon, wotko, who is himself 
alwaj-s roaming about at night and grieving, as is shown by the white circles 
around his ej-es. The plant used to cure the trouble is tohiligo, 'plant without 
feet, ' or mistletoe (Phoradendron flavescens), which grows high up on trees near 
the rivers. The raccoon is thought to associate with this plant. During the 
preparation of the medicine it is blown into between the verses of the follow- 



ya 


hA'mba 


laga 


this 


eater 


glutton 


ya 


hA'mba 


lani 


this 


eater 


yellow 


ya 


liAmba 


djildi 


this 


eater 


red 


ya 


hA'mba 


lasti 


this 


eater 


black 


ya 


hA'mba 


hatki 


this 


eater 


white 



234 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1. 

ing formula. All the animals mentioned after the raccoon in the fourth, fifth 
and sixth verses are likewise night prowlers and doleful in mien. The greater 
portion of the translation offered is only approximate. 

aiha" ai ha" ai ha" ai ha". 

wotko hoktiilwa. 

raocoon fenule 

dalanl. 
eye yellow 

po"yadjI la'gat. 

mourning, lying stretched out 

Ikde'mAt. 

(?) 

alik dA'sha. 

weak jumper (?) 

ai ha" ai ha" ai ha" ai ha". 
Five other verses are just the same as the foregoing except in the first 
word. The second verse begins with wotko dju'll, 'old male raccoon', the 
third with wotkiidjl, 'little raccoon', the fourth with oktcutko lani, 'muskrat 
yellow,' the fifth with halpada lani, 'alligator yellow,' and the sixth with tago 
lani, 'ground mole yellow'. The fonnula ends with the syllables ' wai' wai' ' in 
a deep interrogative tone. 

20. Kdtcale'dja. Wildcat the Cause.* 

The different members of the cat family, p5'si, cat, katca, wild cat, and 
koakudji, panther, cause nausea and gripes. The medicine used with the for- 
mula is made up of a munber of plants, the names of which were not obtained, 
and called koakudjiliswa, 'panther, medicine.' The fonnula, spoken quite 
rapidly by the shaman, has a marked three-fourths rhj'thm, the words being 
as follows: 

katcale'dja di'. 

wild cat the cause 

i'ga lakko di'. 

head big 

yAbo lakko di'. 
nose big 

fdo lakko di.' 

face big 

tolwa lakko di'. 

eye Ijig 

hdtsko lakko di'. 
ear big. 

'M.A.A.A., 128. 



F. G. SPECK — CREEK AND YUCHI CEREMONUL SONGS. 235 

n6gwa idkko dl'. 
neck big 

latsi idkko di'. 
throat big 
ifiilwa iakko di'. 
his shoulder big 

sakpa Iakko di'. 
fore leg big 

li'dabiksi Iakko di'. 
foot broad big 

nadji Mkko di'. 
teeth big 

hokpi Iakko di'. 
breast big 

MfAni Mkko di'. 
bark bone big 
inalki Iakko di'. 
his belly big 
isuksi Iakko di'. 
Ills buttocks big 

ihdfi Idkko di'. 
his thigh big 
Inddjaiahi di'. 
body muscle 
sakpadjalahi di'. 
fore leg muscle 
hadjidjalahi di'. 
tail muscle 

had j if Ana li'djadi'. 
tail bone it was under 
Tliere are two more verses to this formula which are different from the 
above only in the first word. The second verse begins with koakiidji Iakko 
di', 'pantherbig', and the third with 'posi Idkko di', 'cat big.' 



236 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



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ORIGIN OF DISEASES AND MEDICINES 



Pomidjiskadju'lagi Maskogi 
Our ancestors Muskogi 

[lit. our 'old roots'] 



hillSWA 
medicine 
omisdje' 

was. 
hdyadit 

made 
hayadit 

made 
hillsWA 
medicine 
hayadit 

made 
hillSWA 
medicine 
magit 
said 
magit 
said 
omis magit 
was, said 

aledjat omis 
causer was, 

Mlo ale'djat 
fish causer 



hayadit 
made 
Mo'rain 
Then 
omLsdje'. 

was. 
omisdje'. 

was. 
hayadit 
made 
omisdje'. 

was. 
hayadit 
made 
hiliswA 
medicine 
hillSWA 
medicine 



omisdje'.' 
was. 
hadA'm 
again 
HadA'm 

Again 
Mo'min 
Then 
omisdje. 
was. 

Mo'min 
Then 
omisdje'. 
was. 
hayadit 

made 
hayadit 
made 
hiliswA 
medicine 



siliogof. 

when [they] 

stood. 

Katca ale'dja 

Wildcat causer, 

nokusi ale'dja 



I'djo 
Deer 



ale'dja 
[the] causer, 



md'git 
said 



magit 
said 
omis 
was, 



bear causer 

tcitto ale'dja 
snake causer 

hadA'm sukha 
again hog 

Fuswa ale'djat 

Bird causer 

hadA'm posi 
again cat 

Mo'min hadA'm 
Then 
omisdje. 

was. 
omisdje'. 
was. 
hdyadit omisdje'. 

made was. 

hillSWA hayadit 
medicine made 
magit hi'liswA 



magit 
said 
omis 
was, 
omis 
was, 
le'djat- 
causer 
omis 
was, 
ale'djat 
causer 
lakko 



again horse 

Mo'min itcaswa 
Then beaver 

Mo'min hadA'm 
Then again 

Mo'min 

Then 

omisdje'. 
was. 



hillSWA 
medicine 
magit 
said 
magit 
said 
o'mis 
was, 
magit 
said 
omis 
was, 
ale'djat 
causer 
ale'djat 
causer 
I'fa 
dog 
hadA'm 

again 
Mo'min 
Then 



said 



hadA'm 
again 

Mo'min 
Then 
omisdje'. 
was. 



ale'djat 
causer 



medicine 
omis mdgit 
was, said 



hayadit omis dje'. 

made was. 

hiliswA hayadit 

medicine made 



hayadit 

made 
hillSWA 
medicine 
hilisw.'i. 
medicine 
magit 
said 
hillSWA 
medicine 
magit 
said 
omis 
was, 
omis 
was, 
ale'djat 
causer 
osaima 

otter 

hAclA'm 
again 
Mo'min 
Then 
omis dje'. 
was. 



ponata 
game 

animals' 

hadA'm wlyi'stit ale'djat omis magit hiliswA hayadit 
again in water people cau.ser was, said medicine made 

Mo'min liAd.^'m labatkadilogat omis magit hili'swA hayadit 
Then again shore creatures was, said medicine made 



' — dje', an emphatic sentence conclusion, corresponding to the English period. 
'The i occurring in these forms is the subjective suffix. 
'Refers to various edible animals. 

(237) 



238 



ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 



omisclje.' 



Mo'min 
wa.5. Then 



hdyadit 6misdje'. 

made was. 

hdyadit omisdje'. 

made was. 

hiliswA hd,yadit 
medicine made 



Mo'min 
Then 

omisdje'. 
was. 



again 

Mo'min 
Then 



said 

6m is 

was, 



hadA'm [wi] o'fadilogat omis magit hilis'wA 
again sea creatures was, said medicine 

Mo'min hAdA'm tcitto siilgat omis magit hiliswA 
Then again snake various was. said medicine 

hadA'm oyakwildgi siilgat omis magit 
in the water standing was, 
[creatures] various 
hadA'm oj^akwlldkudjlt 
again in water standing 

little [creatures] 
mdgit hih'swA hayadit omisdje'. Mo'min hAdA'm wotko ale'djat 
said medicine made was. Then again raccoon < auser 

omis, magit hiliswa hayadit omisdje'. Mo'min hadA'm sukha hdtka 
was, said medicine made was. Then again opossum 

[lit. 'hog white'] 
ale'djat omis magit hiliswA hayadit omisdje'. Mo'min hadA'm 

causer was, said medicine made was. Then again 

s6da sukhat ale'djat omis magit hiliswA hayadit omisdje'. 

sky hog causer was. said medicine made was. 

hadA'm oskindddjat ale'djat o's magit hiliswA hayadit 
rainbow pit. causer was, said medicine made 

'rain cutter']' 

hadAm poyaffkdja ale'djat omis magit hiliswA 

again [our] spirit or soul causer was said medicine 

Mo'min hadA'm ikano siilgi omis magit hiliswA 

Then again earth various was, said medicine 

[kinds of] 
Mo'min hadA'm tiitka modjasa ingasiipld omis magit 
Then again fire new its cooling was, said 

hilfswA hayadit omisdje'. Mo'min had.A'm ikano siilgl stilgat omis 
medicine made was. Then again earth various classes was, 

magit hiliswA hayadit omisdje'. Mo'min hadA'm suli aledjat omis 

said medicine made was. Then again buzzard causer was, 

magit hih'swA hdyadit omisdje'. Mo'min hadA'm isti winakid 
said medicine made was. Then again humans living 

aledjit omis mdgit hilfswA hayadit omisdje'. Mo'min 
causer was, said medicine made was. 

kdtcat ale'djit o's mdgit hiliswA hayadit omisdje'. 
wild cat caused said medicine made was. 

pfnwale'djat omis mdgit hiliswA hayadit 6misdje'. 
wild turkey was, said medicine made was. 

causer 
wiyogo'f yahat ale'djit o's, magit hiliswA ha3'adit 
in water wolf caused, said medicine made 



agam 

Mo'min 

Then 

omisdje'. 

was. 

6misdje'. 

was. 



Mo'min 
Then 
omisdje'. 
was. 

hdyadit 
made 

hayadit 
made 



Then 



hadA'm 
again 



Mo'min hadA'm 

Then agam 

Mo'min hadA'm 

Then again 

omisdje.' Mo'min 

was. Then 



' The Creeks believe that the rainbow stretches across the sky and shuts off the 
descending rain. 



F. G. SPECK — CREKK AND YUCHI CEREMONIAL SONGS. 



239 



hadA'm 

again 
Mo'min 

Then 
omisdje'. 

was. 

hdyadit 
made 

hdyadit 
made 



hdyadit 
made 



labdtki yahdt ale'djit 
shore wolf caused, 

hadA'm djo'hanagut 
again curse 



o's, mdgit hilfswA hdyadit 

said medicine made 

ale'djit o's magit hiliswA 

caused, said medicine 



Mo'min 
Then 

omisdje'. 

was. 
omisdje'. 

was. 



omisdje'. 

was. 



hadA'm 
again 

Mo'min 
Then 
Mo'min 
Then 



tcftto mi'kut ale'djit o's magit 
rattlesnake [lit. caused, said 

'snake chief']. 

hadA'm o'bo lale'djat o'mis mdgit 
again owl its causer was, said 

hadA'm ddjidf'kat' omis mdgit 
again what is inside of was, said 
you [lit. 'towards 
you inside'] 



Translation. 



omisdje'. 
was 

hdyadit 

made 

hili'swA 

medicine 

hiliswA 
medicine 

hiliswA 
medicine 



Our ancestors the Muskogi were assembled long ago. The deer caused a 
certain sickness, then he said he would make the medicine for it. The wildcat 
caused a sickness, then said he would made the medicine for it. Then the bear 
caused a sickness and said he would make the medicine for it. Then the snake 
caused a sickness and said he would make the medicine for it. Next the hog 
made a sickness and said he would make the medicine for it. Again, the bird 
made a sickness and said he would make the medicine for it. Then the cat 
caused a sickness and said he would make the medicine for it. Then the horse 
made a sickness and said he would make the medicine for it. And the beaver 
made a sickness and said he would make the medicine for it. Then the dog 
caused a sickness and said he would make the medicine for it. Then the 
otter caused a sickness and said he would make the medicine for it. Then the 
fish caused a sickness and said he would made the medicine for it. Then again 
the game animals caused a sickness and said they would make the medicine for 
it. Then again, the people who live in the water made a sickness and said 
they would make the medicine for it. And tlie shore creatures made a sickness 
and said they would make the medicine for it. Then the sea creatures made a 
sickness and said they would make the medicine for it. And the various kinds 
of snakes caused a sickness and said they would make the medicine for it. 
And the various creatures standing in the water made a sickness and said they 
would make the medicine for it. Then the little creatures standing in the water 
made a sickness and said they would make the medicine for it. Then again 
the raccoon caused a sickness and said he would make the medicine for it. 
And the possum caused a sickness and said he would make the medicine for 
it. Then the skv hog caused a sickness and said he would make the medicine 



'Also dm adJ'kat. 'me inside.' 



240 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I. 

for it. And the rainbow caused a sickness and said he would make the 
medicine for it. Then the spirits or souls caused a sickness and said they would 
make the medicine for it. And the various kinds of earth made one and said 
they would make the medicine for it. Then again, the new fire made a sickness 
and said it would make the medicine for it. And again, the various classes of 
earth were the cause, and said they would make the medicine for it. Then the 
buzzard caused one and said he would make the medicine for it. Then again 
living people were the causes of sickness and said they would make the medicine 
for it. Then again the wildcat was a causer and said he would make the medi- 
cine for it. And again, the water wolf was the causer of one and said he would 
make the medicine for it. And the shore wolf caused one and saitl he would 
make the medicine for it. And then curse caused sickness and said he would 
make the medicine for it. Then the rattlesnake made a sickness and said he 
would make the medicine for it. Then the owl was the causer and said he 
would make the medicine for it. Then again what is inside of you was the 
causer and said it would make the medicine for it. 



SHAWNEE LOVE SONGS 



These two songs were sung by a Shawnee (Charley Wilson) of the band 
affiliated loosely with the Yuchi and Creeks since veiy early times and now 
with them in the northwestern part of the Creek Nation. The examples given 
are suppOvsed to be typical of the songs current among the men about the village, 
used not only to arouse the emotions of their lovers, but as calls. They also 
represent the spontaneous outbvu'sts of feeling to which lovers are thought to be 
subject. Wliile both songs consist of mere burden syllables, there are in the 
second several places where the singer introduces a few impromptu expressions 
indicating the state of his feelings. 



Shawnee Love Song. 



(A) M. M. J: 



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Repeal three times. 



The syllables vary between go hi ya' ha, ho hi ya' ha and yo' ho we hi ho, 
ho hi ya' ha. 



(B) M.M. J= 166. 



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The syllables of this song are for the most part hardly distinguishable. 
Part is sung to go ho ha we hi yd, we he ya' go wa and ya no hi ya' with vari- 
ations of ha ha w6, we haf'ya, we he ha' a ya' and slurs and prolonged tremolos 
on a, we, etc. 



F. G. SPECK— CREEK AND YUCHI CEREMONIAL SONGS. 



243 



Shawnee Love Song. 
The spirit of the following song is so impulsive that the mere burden 
syllables are lost sight of. The greater part seems to be a repetition of ha yd 
ya le h6 yd, interspersed with yells, falsetto tremolos and slurs. The only actual 
words that I could get from the te.xt represent such expressions as "last of 
it," "hiut one's feelings," " a lot of people going home," " Osage," " shaking 
it off," and agam " Yo Osage." The song ends in the scalp yell, known as 
the "gobble whoop," common among the southern tribes as a sign of victory. 




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